THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


)  Eft 


7 


B.  0.  BAKER 

LAWYER 
DA1XAS.  TEXAS 


PALMER'S 


NEW 


Manual  of  Shorthand 


KEYED    EXERCISES 


DESIGNED  FOR  SCHOOLS  AND  COLLEGES 


E.  M.  PALMER 

CINCINNATI,    OHIO 

1908. 


COPYRIGHT,  1895 ,  BY  EDWIN  M.  PALMER. 


Entered  according  to  Act  of  Congress,  in  the  year  1895,  by 

EDWIN   M.  PALMER, 
In  the  office  of  the  Librarian  of  Congress  at  Washington,  D.  C. 


r/o  ^ 

y  ^ 


PREFACE. 


Having  long  felt  conscious  of  the  fact  that  our  first 
Manual  was  defective  in  many  points,  we  have  revised  it 
and  now  present  its  successor,  "Palmer's  New  Manual 
of  Shorthand,"  to  the  public,  with  the  hope  that  it  will 
meet  with  their  approbation.  We  have  spared  neither 
pains  nor  expense  to  make  it  as  correct  and  tasteful  as 
possible ;  and  beyond  this,  we  will  leave  the  new  Manual 
to  speak  for  itself.  We  now  feel  confident  that  this 
work  in  connection  with  our  Expert  Reporter  will  entitle 
us  to  the  front  rank  as  publishers  of  Shorthand  text- 
books. 

E.  M.  P, 


. 

Preface,     ..........         3 

Introduction,  .  .....  7 

Observations  on  beginning  the  Study  of  Phonograpny,        .  .  15 

Derivation  of  the  Consonant  Signs,  ......  18 

Table  of  Consonants,'      .  ......        20 

On  Pronouncing  the  Consonants,  .  .  .  .  .21 

Abrupts,  or  Explodents,  .......        21 

Continuants,     .........  22 

Liquids,     ..........        24 

Nasals,  .........  -24 

Coalescents,  .........        24 

The  Aspirate,  .  .  .  .  .".     .  .  25 

Consonants — how  written,  .  .  .  .  .  .  .26 

Exercise  on  Consonants,       .......  27 

Consonants  Combined,  .......        28 

Exercise  on  Consonants  Combined,  .  .  .  .  .     •         29 

Additional  Characters  for  Sand  Z,  .  .          '   .   •    '      .  .30 

Exercise  on  i'and  Z,  .  .  .  ,  .  .  .  31 

Additional  Character  for  R,  .  .  .  .  .  .        32 

Exercise  on  Upward  R,  • '       .  .  .  .  .  .  •  .  33 

Long  Vowels,        .  .  .  .  .  .          .  .     :       ..  -34 

Exercise  on  Long  Vowels,  ......  35 

Long  Vowels — continued,  ....  .  .        36 

Words  containing  Long  Vowels,      .  ._-',..•'.•          .  .  37 

Short  Vowels,        .  •   ...  .'-*".  •.  .        38 

Words  containing  Short  Vowels,     .  . .        «t  .          '  .  39 

Words  containing  Circle  and  Stroke  5  and  Z,  .  .  40 

Exercise  on  Words  containing  Circle  and  Stroke  5  and  Z,  41 

Diphthongs,  .  .  .  .-  .  .  -42 

Triphthongs,  .  .  .  .  .  .  .  42 

Exercise  on  Diphthongs,  .......       43 

Exercise  on  Triphthongs,  .  .  .          t .  43 

The  Coalescents,  .  .  .  .  .  .  *i  .44 

The  Initial  W  Hook,  .  .  .  .  .         •*.  .  44 

Exercise  on  the  Coalescents,      .  .  .  .  .     s  ~    .  -45 

Exercise  on  Initial  W  Hook,.  .  .  .  .         .    ."  '.  45 

Double  Consonants,  .  .  .  ...  .  46,  48 

Exercise  on  Double  Consonants,     .  .  >     '..  .     •  -.    .        47,  49 

Treble  Consonants,^        .  ......        50 

Exercise  on  Treble  Consonants,      .  .  .  .  .     .  51 

The  Aspirate,  or  Breathing  H,  .  .  ,  .    '         .        52 

Exercise  on  Words  containing  the  Aspirate.         ...  53 

The  N  Hook,  .  .  .  .  ,  .54 

Exercise  on  the  ./V  Hook,  '  .  .  .  -.        .  ,  55 

Mp  or  Mb.  Mr  and  Nrt  ......  .56 

Lr,  Rl;  Ml,  and  Nl,      '  .  .  .  .  .  .  56 

Exercise  on  Mp  or  Mb,  Mr  and  Nr,     .  .  .  .  .  -57 

Exercise  on  Lr,  Rl,  Ml,  and  Nl,     .....  57 

The  For  I/  Hook,  .......       58 

Double-length  Curved  Signs,  ......  58 

Exercise  on  the  for  KHook,  .  .  .  .  -,  .59 

Exercise  on  the  Double-length  Curves,     .            .  .  50 

The  Way  Hook,  60 


vi                                                        CONTENTS. 

The  Shun  Hooks,                  ....... 

60 

Exercise  on  thp  Way  Hook,       ..... 

61 

Exercise  on  the  Shun  Hooks,           ...... 

61 

Logograms,                        .            .            .            .            «            . 

62 
61 

Simple  Logograms,          ....... 

•       64 

Exercise  on  Simple  Logograms,      ...... 

65 

Vowel  Logograms,           ....... 
,    Exercise  on  Vowel  Logograms,       ...... 

.       66 
67 

Wand  K  Logograms,                  ...... 

.       68 

Exercise  on  W  and  Y  Logograms,              .                         . 

69 

Simple  Stroke  Logograms;         ...... 

70 

Exercise  on^Simple  Stroke  Logograms,     ..... 

7' 

Loops  St  arid  Sir,                          ...                         . 

72 

Exercise  on  Loops  St  and  Sir,         ...... 

73 

Initial  Hook  Logograms,              ...... 
Exercise  on  Initial  Hook  Logograms,         ..... 

74 
75 

The  Halving  Principle,                  ...... 
Exercise  on  the  Halving  Principle,             ..... 

.        76 
77 

Final  Hook  Logograms,              ....... 
Exercise  on  the  Final  Hook  Logograms,                .... 

•       7» 
79 

Half-length  Logograms,              .                         .     • 
Exercise  on  the  Half-length  Logograms,               . 

.       80 
81 

Special  Vocalization,      .              ...... 

82 

The  Dissyllabic  Diphthongs,           ...... 
Exercise  on  Special  Vocalization,          ..... 

82 
•       83 

Exercise  on  the  Dissyllabic  Diphthongs,              .... 

83 

Prefixes,    ......... 

.       84 

Affixes,             ......... 

84 
85 

Exercise  on  Affixes,               ....... 

85 

Irregular  Logograms,      ........ 
Exercise  on  Irregular  Logograms, 

.       86 
87 

The  ticks,  

88 

Omitted  Consonants,  etc.,     ....... 

88 

Exerc.ise  on  the  Ticks,  etc.,        ...... 
Exercise  on  Omitted  Consonants,  etc.,       ..... 

•    5» 

89 

Nominal  Consonant,         .                         ..... 

90 

Punctuation,  etc.  (Exercise  p.  89),              ..... 

90 

Consonant  Outlines,  x       ....... 

91 

Rules  for  writing  1.  and  R,               ...... 

92 

Exercise  on  L  and  R,      ....... 

93 

On  Foreign  Sounds,               ....... 

94 

Extended  Alphabet,        ....... 

95 

Table  of  Grouped  Consonants,        ...... 

96 

Table  of  Grammalogues  (for  the  writer),        .... 
Table  of  Logograms  (for  the  reader), 

.        98 

IO2 

Outlines,                .....                         .            . 

.     106 

Outlines  unnecessary  to  Vocalize  in  the  Corresponding  Style, 

107 

Reading  Exercises,          ....... 

.     109 

Reporting,             ...... 

•      '45 

MS 

Position,    ......... 

.      146 

Contractions,  etc,       ........ 

148 

Table  of  Reporting  Logograms,            ..... 

•      149 

Table  of  Contractions,           ....... 

'SO 
•     '51 

Phraseography,           ........ 

'57 

List  of  Phrases,  _...... 

.      158 

Miscellaneous  Briefs,            ....... 

1  68 

Exercise.                ........ 

169 

INTRODUCTION. 

Language  is  the  principal  vehicle  of  thought ;  and  so  numerous 
and  important  are  the  ends  to  which  it  is  subservient  that  it  is  diffi- 
cult to  conceive  in  what  manner  the  affairs  of  human  society  could 
be  conducted  without  it.  Its  utility,  therefore,  will  ever  entitle  it 
to  a  considerable  share  of  attention  in  civilized  communities,  and 
to  an  important  place  in  all  systems  of  education. 

An  easy,  distinct  and  rapid  mode  of  communicating  our  thoughts 
and  feelings  becomes  a  necessity  of  our  existence.  Looks,  signs, 
gestures  are  not  always  sufficiently  expressive ;  and  it  is  hardly  rea- 
sonable to  suppose  that  any  number  of  human  beings,  possessed  of 
unimpaired  vocal  organs,  would  pass  any  considerable  length  of 
time  together  without  using  articulate  sound  as  their  medium  of 
communication.  Indeed,  it  would  be  impossible  to  find  a  family 
of  human  beings  without  a  common  language  of  some  kind.  It 
may  be  very  imperfect,  yet  to  those  who  use  it  every  need  is 
supplied. 

As  it  is  not  always  possible  for  us  to  speak  in  our  voices  to  those 
with  whom  we  wish  to  have  communication,  recourse  must  neces- 
sarily be  had  to  durable,  visible  signs — such  signs  as  will  represent 
or  symbolize  a  thought.  The  early  attempts  to  represent  thoughts 
by  picture-writing  are  termed  hieroglyphic  systems,  and  traces  of 
them  are  found  to-day  cut  in  numerous  obelisks  and  ancient  ruins 
scattered  through  different  parts  of  the  old  world,  especially  in 
the  countries  of  the  Levant. 

It  is  impossible  to  determine  what  the  outgrowth  of,  hieroglyphic 
representation  of  thought  would  have  been  had  it  continued  to  be 

the  only  mode  of  recording  important  events  for  future  reference; 

(vii) 


INTRODUCTION. 


but  it  is  reasonable  to  suppose  that  the  picture  forms  used  to  repre- 
sent thought  would  have  been,  from  necessity,  contracted  still 
more,  until  probably  a  system  might  have  been  formed  which 
could  have  been  written  with  tolerable  facility;  but  even  had  this 
been  the  case,  and  such  a  system  formed",  the  mastery  of  it  would 
have  involved  months  or  perhaps  years  of  patient  study,  and  when 
acquired  would  not  be  of  much  practical  value  to  its  possessor,  ex- 
cept for  his  o.wn  private  use,  as  difference  of  opinion  would  lead  to 
the  adoption  of  perhaps  several  different  pictures  to  represent  the 
same  thought,  making  the  system  extremely  complicated  and  worth- 
less for  general  use. 

Such  was  the  unsettled  state  of  affairs,  when  an  entirely  new  idea 
presented  itself,  namely,  representing  the  sounds  of  speech.  No 
sooner  was  it  discovered  that  the  human  organs  of  speech  j»vere  the 
same  in  all  the  world  and -the  sounds  produced  the  same,  and  the 
number  of  sounds  comparatively  small,  probably  less  than  one  hun- 
dred, for  the  expression  of  all  the  languages  in  the  world,  than  the 
old  hieroglyphic  scheme  was  given  over,  and  attention  directed  to 
the  formation  of  a  system  by  which  the  elements  of  spoken  sound 
could  be  represented  by  visible  signs.  Of  the  hundred  different 
.sounds,  each  group  of  families  called  a  nation  has  adopted  a  com- 
paratively small  number  to  express  its  own  ideas.  But  the  first 
persons  who  conceived  the  grand  idea  of  representing  the  sounds  of 
speech  were  not  acquainted  with  any  language  beyond  their  own, 
or,  at  most,  beyond  the  group  of  languages  to  which  their  own 
belonged ;  and  they  consequently  limited  their  signs  to  the  expres- 
sion of  those  elements  only  with  which  they  were  acquainted.  One 
of  the  oldest  systems  of  writing  arranged  on  this  principle,  the 
Sanscrit,  is  an  example  of  the  most  perfect  attempt  at  representing 
the  elements  of  spoken  sounds  by  visible  signs  that  has  yet  been 
adopted  by  a  whole  nation  as  the  dress  of  their  literature. 


INTRODUCTION.  IX 


As  all  the  languages  of  Europe  are  closely  related  to  the  Sanscrit, 
a  very  slight  modification  of  the  Sanscrit  characters  would  have 
served  to  represent  correctly  the  elements  of  European  sounds. 
This,  however,  was  not  to  be,  as  the  Europeans  left  India,  it  is 
thought,  before  the  invention  of  writing,  and  so  must  have  received 
their  idea  of  representing  the  elementary  sounds  of  speech  by  visi- 
ble signs  from  an  entirely  different  quarter.  The  languages  known 
as  the  Semitic,  namely,  the  Hebrew,  Syriac,  and  Arabic  contain 
sounds  very  dissimilar  to  the  European,  with,  of  course,  some  similar 
or  identical;  and  the  first  imperfect  attempt  to  represent  these 
sounds  in  a  kind  of  skeleton  character  was  brought  by  commerce 
from  Phoenicia  to  Greece.  The  Greeks  adopted  the  characters  of 
the  Phoenicians,  and  as  their  pronunciation  of  the  Phoenician  names 
for  the  first  two  characters  in  the  scheme  was  alpha,  beta,  the  term 
"alphabet"  has  descended  to  modern  times  as  the  name  of  any 
collection  of  symbols  which  represent  the  elements  of  spoken 
sounds. 

Though  the  Phoenicians  were  the  first  to  use  an  "alphabet  to  rep- 
resent spoken  sounds,  it  is  certain  that  they  derived  most  of  their 
characters  from  the  ancient  Egyptians,  with  whom  they  held  friendly 
relation.  That  this  alphabet  did  not  represent  the  Phoenician 
language  with  great  accuracy  is  more  than  probable;  but  still  less 
accurately  djd  it  represent  the  Greek  language,  which  was  afterward 
represented  by  it,  though  not  until  a  few  unimportant  changes  had 
been  made,  pricipally  rounding  the  characters  and  adding  a  few 
contractions.  From  the  Greeks  it  was  transmitted  to  the  Romans, 
who  received  it  and  modified  it  to  suit  their  peculiar  tongue,  mak- 
ing the  alphabet  less  phonetic  than  formerly.  In  Rome  and  wher- 
ever Roman  conquest  went  this  alphabet  was  adopted  for  the  repre- 
sentation of  Latin,  which  became  the  condition  language  of  the 
government.  And  when  the  nations  of  the  North  finally  overcame 


INTRODUCTION. 


the  Roman  empire,  they  seized  upon  the  Roman  letters  as  part  of 
their  spoils,  and  contorted  them  for  the  representation  of  languages 
which  differed  most  remarkably  from  the  Latin,  both  in  the  number 
and  quality  of  the  elementary  sounds.  The  Northern  nations  that 
did  use  the  Roman  alphabet  used  it  in  different  fashions,  and,  as 
might  be  supposed,  there  were  quite  a  number.  At  length,  out  of 
a  mixture  of  Saxon,  Danish,  French,  Latin  and  Greek  elements, 
arose  our  own  tongue,  though  of  course-  not  possessing  the  power 
of  expression  found  in  it  to-day,  yet  bidding  fair,  by  its  inherent 
merits,  by  the  richness  of  its  literature,  as  well  as  by  the  extent  of 
our- commerce,  to  become,  if  not  the  universal  language,  its  imme- 
diate progenitor. 

The  unphonetic  nature  of  the  present  alphabet  to  correctly  rep- 
resent a  system  of  orthography  in  which  the  phonetic  system 
prevails  is  strikingly  felt  by  the  student  who  is  making  his  first 
attempt  to  learn  even  the  simplest  Words.  In  the  first  place,  the 
alphabet  fails  utterly  to  represent  several  very  important  sounds, 
and  in  the  next  place,  the  symbols  it  does  employ  are  used  so 
variously — one  symbol  being  used  in  many  cases  to  represent  more 

than  one  sound,  and  often  two  symbols  to  represent  a  single  sound — 

t 

that  the  mind  of  the  reader  is  perplexed,  and  while  recognizing  an 

alphabet"  of  but  twenty-six  letters,  viewed  in  this  light  it  consists 
of  more  than  two  hundred  symbols,  each  one  of  which  varies  its 
meaning  at  times,  so  that  it  is  foolish  to  suppose,  after  learning  one 
meaning  for  each,  one  has  learned  all  their  meanings.  While  on 
the  other  hand,  if  all  the  meanings  were  learned,  there  is  no 
means  of  knowing  for  a  certainty  which  one  to  apply,  except  on 
the  authority  of  a  dictionary,  and  even  here  will  be  found  some 
difference  of  opinion'. 

Art  is  the  only  universal  language.  It  speaks  in  every  tongue,it 
pleases,  it  pains,  it  softens,  it  hardens,  it  instructs,  it  amuses. 


INTRODUCTION. 


Through  the  eyes,  by  means  of  art,  can  be  transmitted  thoughts 
and  ideas  of  every  kind.  Show  to  the  savage  a  finely  executed 
painting  of  a  battle.  What  words  could  you  use  that  would  better 
convey  to  his  feeble  mind  such  a  scene?  Show  to  a  sensitive  nature 
the  picture  of  a  fellow  creature  in  pain,  with  all  the  expressions  of 
agony  portrayed  on  his  countenance.  Could  any  words -of  yours 
convey  to  him  the  sight  more  vividly?  Or  could  any  language  of 
yours  better  recall  to  a  mother's  mind  the  face  of  her  boy  than 
would  his  picture  ?  A  picture  never  fails  to  present  an  idea.  The 
better  the  picture  the  clearer  the  idea.  Such  was  the  thought 
which  lead  the  Egyptians  to  represent  their  ideas  by  picture  signs 
or  hieroglyphic  forms,  which,  while  being  exceedingly  lengthy  and 
awkward  to  write,  served  to  represent  very  clearly  their  thoughts. 
These  characters  have  been  handed  down  to  us  through  many  gen- 
erations, though  of  course  greatly  changed,  being  contracted  or 
modified  until  they  appear  as  we  use  them  to-day.  It  is  impossible 
to  tell  whether  the  alphabet  now  used  will  undergo  any  very  im- 
portant changes  in  the  near  future,  but  it  is  safe  to  predict  that  it 
will  never  be  written  with  the  rapidity  of  speech,  no  matter  how 
greatly  it  may  be  contracted. 

Who  that  is  much  in  the  habit  of  writing  has  not  wished  for  a 
swifter  method — one  which  would  express  by  two  or  three  dashes  of 
the  pen  that  which,  as  things  are,  it  requires  such  an  expenditure  of 
time  and  labor  to  commit  to  paper.  The  need  of  a  more  rapid  mode  of 
writing  was  felt  in  an  early  civilization.  And  it  is  a  well-established 
fact  that  during  the  time  of  Cicero  a  briefer  system  of.  writing  was 
practiced  for  reporting  speeches  in  the  Roman  Senate  than  the 
characters  of  the  Roman  alphabet.  This  system,  it  is  thought,  was 
invented  by  one  Tyro,  a  freedman  and  friend  of  the  Consul's,  and 
at  that  time  was  extensively  practiced,  but  with  the  decline  of  the 
empire  fell  into  disuse,  as  did  the  Latin  tongue  itself. 


Xtl  INTRODUCTION. 


From  the  fall  of  the  Roman  empire,  the  need  of  an  easier  means 
of  intercommunication  for  thought  continued  to  be  more  extensively 
felt  as  time  progressed,  and  attempts  to  supply  it,  as  may  be  sup- 
posed, were  numerous,  and  in  many  cases  worthless ;  those  of  any 
importance  being  systems  employing  the  Roman  alphabet  in  a  con- 
tracted form,  and  providing  numerous  arbitrary  signs  for  the  brief 
expression  of  religious  sentences  and  other  Bible  phraseology. 

While  the  briefer  system  of  writing  as  practiced  by  Tyro  (the 
freedman  of  Cicero),  Ennius,  and  others  was  an  improvement  in 
point  of  speed  on  the  ordinary  method  of  writing  commonly  em- 
ployed in  those  days,  it  could  not  be  considered  a  system  of  short- 
hand, being  for  the  most  part  an  abbreviated  longhand,  both  as  to 
the  forms  of  the  letters  and  the  orthography.  The  first  system  of 
Stenography  worthy  of  notice,  or  which  created  any  general  interest, 
was  perhaps  that  introduced  to  the  English  public  by  Timothy 
Bright  in  1588,  from  which  time  teachers  and  systems' increased 
rapidly,  no  less  than  thirteen  different  systems  being  devised  from 
this  time  to  the  establishment  of  constitutional  freedom  in  England. 
At  this  time  the  principles  of  the  Protestant  Reformation  were 
being  extensively  promulgated  from  the  pulpit,  and  the  desire  to 
preserve  for  future  private  reading  the  discourses  delivered  by  the 
principal  divines  of  the  day,  served  to  stimulate  the  efforts  made 
toward  bringing  the  art  to  greater  perfection.  Bright's  system  of 
Stenography  consisted  for  the  most  part  of  arbitrary  characters  for 
words.  In  1751  Mason's  system,  published  by  Thomas  Gurney, 
appeared,  which  greatly  excelled  any  thing  that  had  yet  been  offered 
on  the  subject.  This  new  and  improved  system  was  of  course  the 
outgrowth  of  experiments  and  a  more  extended  knowledge  of  what 
was  required.  A  system  which  provided  for  the  most  part  brief 
forms  for  the  expression  of  religious  phraseology  in  the  days  of 
Puritanism  would  scarely  prove  adequate  to  express  the  innumerable 


INTRODUCTION.  Xlll 


parliamentary  phrases  and  technical  terms  of  the  eighteenth  cen- 
tury, and  so  it  was  soon  discovered  that  even  Mason's  system  was 
but  a  few  steps  nearer  to  solving  ihe  problem  than  those  which  pre- 
ceded it.  In  1767  Byrom's  system  of  Stenography  was  published, 
though  several  years  after  the  death  of  its  author.  This  system  was 
followed  by  Taylor's  in  1786  and  Mayor's  in  1789,  two  systems 
which  were  considered  at  the  time  of  their  appearance  the  most 
valuable,  certainly  the  most  practical,  of  any  systems  before 
attempted. 

The  systems  of  Taylor,  Byrom,  and  Mavor  continued  to  be  prac- 
ticed and  taught  throughout  England  until  1.837,  when  Mr.  Isaac 
Pitman,  of  Bath,  England,  published  a  system  of  Shorthand  entitled 
"  Stenographic  Soundhand."  This  publication  quietly  sold,  exciting 
no  special  interest  until  the  passage  of  the  Penny  Post  law  three 
years  later,  when  Mr.  Pitman  published  a  small  sheet  entitled 
"Phonography,"  which  presented  a  sytem  of  writing  so  simple, 
philosophic,  and  beautiful  in  its  principles  that  it  attracted  great 
attention  throughout  Great  Britain.  Suggestions  for  the  improve- 
ment of  the  system  were  received  by  the  inventor  from  nearly  every 
quarter,  many  serving  to  bring  it  to  a  still  greater  state  of  perfec- 
tion ;  and,  while  bearing  no  resemblance  in  its  details  to  any  of 
the  preceding  systems,  it  can  not  be  denied  that  it  was,  in  a  certain 
sense,  the  happy  outgrowth  of  them  all. 

The  advantage  of  a  practical  acquaintance  with  Phonography  to 
individuals  in  all  situations  of  life  has  been  strikingly  shown  in  the 
career  of  .many  men  of  prominence  in  literary  and  other  walks  of 
life.  To  the  lawyer  this  rapid  and  easy  means  of  writing  has  been 
a  boon,  saving  him  from  many  weary  hours  of  toil,  and  enabling 
him  by  its  use  to  accomplish  four  times  the  amount  of  work  gen- 
erally done  in  the  same  time  by  the  old  method,  not  to  mention  its 
inestimable  value  to  him  as  a  means  of  preserving  facts  for  future 


INTRODUCTION. 


reference,  which  at  certain  times  the  remembrance  of  might  prove 
wealth  or  poverty,  life  or  death  to  his  client.  It  is  needless  to 
mention,  except  in  a  general  way,  those  who  are  most  benefited  by 
this  time  and  labor  saving  art.  The  divine,  the  author,  the  editor, 
and  all,  who,  from  the  nature  of  their  business,  find  the  old  way 
painfully  tiresome,  have  hailed  with  delight  the  advent  of  "  Pho- 
nography," invented  by  Mr.  Isaac  Pitman,  and  through  whose 
inventive  genius  and  untiring  energy  the  art  lias-  been  brought  to 
such  a  high  state  of  excellence. 


PALMER'S 

NEW  MANUAL  OF  SHORTHAND. 


OBSERVATIONS    ON    BEGINNING    THE    STUDY    OF 
PHONOGRAPHY. 

The  art  of  Phonography  may  be  acquired  by  any  person  of  ordi- 
nary ability,  and  a  determination  to  persevere,  in  from  four  to  sir 
months,  while  there  are  a  great  many  who  master  its  principles  in 
much  less  time.  An  hour's  daily  practice  in  reading  and  writing 
for  a  month,  after  the  principles  are  thoroughly  mastered  is  generally 
sufficient  to  insure  tolerable  facility  in  using  it.  The  "  Phonogra- 
phic First  Reader,"  intended  to  be  used  with  this  book,  con.a«ns 
valuable .  reading  exercises,  which  should  be  repeatedly  reud  and 
written  when  the  student  has  made  sufficient  progress ;  for  it  is  only 
by  constant  repetition  in  reading  and  writing  that  the  forms  of  «he 
different  words  are  impressed  upon  the  mind,  and  hesitancy  in 
recalling  the  different  characters  is  overcome. 

A  common  mistake  among  students  is  the  desire  to  write  rrpidly 
at  the  outset.  This  he  is  strongly  advised  against.  When  he  can 
trace  the  forms  with  ease  and  correctness,  speed  will  be -the  natural 
result ;  but  a  student  who  does  not  strive  to  write  accurately  and 
with  precision  at  first,  will  not  only  confirm  in  himself  a  poor  style 
of  writing,  but  have  to  lament  the  illegibility  of  his  notes, 

The  best  style  of  paper  for  phonographic  use  is  double  line  paper 
such  as  used  for  the  "  Phonographic  Copy  Book."  The  lines  are 
one-sixth  of  an  inch  aoart.  and  serve  torgive  i  uniform  appearance 
to  the  writing-  as  does  the  copy  bo-~k  'ise.d  frr  ordinary  writing. 

OS) 


16           PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

When  writing  with  a  pencil,  use  paper  with  a  soft  finish,  that  is, 
paper  not  highly  calendered,  as  the  roughness  of  the  paper  takes 
the  lead  better  and  secures  a  greater  distinctness  between  light  and 
heavy  strokes ;  but  when  using  a  pen,  smooth  or  calendered  paper 
is  necessary,  that  the  ink  may  flow  freely  from  the  pen  and  allow  it 
to -run  smoothly.  The  student  should  accustom  himself  to  the  use 
of  both  pen  and  pencil  when  writing  Phonography.  The  former 
should  be  usod  in  preparing  lessons  for  the  class,  which  are  sup- 
pcsed  to  be  written  with  great  care.  The  latter  is  best  for  class  use, 
as  it  is  easier  for  a  novice  to  handle.  When  time  permits,  however, 
the  pen  should  also  be  used -in  the  class. 

Most  phonographers  prefer  holding  the  pen  or  pencil  between 
the  first  and  second  fingers,  as  it  secures  a  greater  speed  in  writing. 
Holding  it  thus  gives  a  freer  action  to  the  muscles  of  the  arm  and 
hand.  And  in  Phonography,  where  .the  characters  are  struck  in 
every  direction,  it  is  unquestionably  an  advantage  to  write  in  this 
manner.  If,  however,  the  student  should  find  this  mode  of  holding 
the  pen  inconvenient  or  awkward,  it  should  not  be  attempted.  On 
the  other  hand,  should  he  desire  to  write  as  here  indicated,  the  pen 
or  .pencil  should  be  held  in  the  hand  as  when  used  for  drawing; 
and  when  a  pen  is  used,  the  nib  should  be  turned  in  such  a  manner 
that  the  letter  \<5  can  be  struck  with  ease. 

To  become  a  rapid  writer,  it  is  necessary  that  the  student  should 
thoroughly  familiarize  himself  with  the  principles  as  they  are  pre- 
sented. Do  not  pass  a  lesson  until  you  are  quite  sure  you  under- 
stand every  thing  in  it.  To  do  this  successfully,  the  student  should 
write  the  engraved  exercise  accompanying  each  lesson  in  his  copy- 
book just  as  it  appears  on  the  printed  page.  Trace  the  characters 
with  a  dry  point  or  clean  pen,  pronouncing  each  character  aloud  as 
the  point  passes  over  it.  By  so  doing  the  eye,  the  hand,  and  the 
ear  are  all  trained — the  eye  to  recognize  the  correct  form,  the  hand 
to  trace  it,  and  the  ear  to  recognize  its  correct  sound  or  power. 
Proceed  in  this  manner  with  every  exercise  and  in  the  order  it  is 
given.  When  the  attention  of  the  student  is  called  to  any  partic- 
ular lines  in  the  engraved  exercise  given  with  every  new  lesson, 
thus  (see  lines  4  and  5),  do  not  proceed  until  you  have  referred  to 
such  lines,  read  them  understandingly,  and  applied  the  rules. 


PALMERS    NEW    MANUAL  OF   SHORTHAND.  17 

All  the  characters  employed  in  the  phonographic  alphabet  depend 
for  their  legibility  upon  two  important  points,  namely,  the  direction 
assumed  by  the  character  when  written,  and  the  manner  of  writing 
it — whether  light  or  heavy.  The  student  is  therefore  particularly 
cautioned  against  writing  in  what  might  be  termed  an  off-hand  or 
free  style  at  first.  Writing  in  such  a  manner  will  surely  lead  to  a 
careless  style,  and  if  persisted  in  will  become  a  fixed  habit  which 
may  be  hard  to  overcome.  The  slanting  strokes  should  be  made 
the  proper  slant;  the  curved  strokes  should  have  the  proper  curve; 
and  when  writing  perpendicular  and  horizontal  strokes,  care  should 
be  exercised  that  they  be  made  accurately,  to  avoid  confounding 
them  with  slanting  strokes.  As  there  are  strokes  in  the  phono- 
graphic alphabet  corresponding  to  the  ordinary  back-hand  writing, 
it  may  be  difficult  at  first  for  some  to  strike  them  with  precision. 
Those  who  experience  this 'difficulty  should  write  such  strokes  re- 
peatedly in  the  copy  book,  until  they  can  make  them  as  shown  in 
the  exercises  and  without  any  effort. 

To  acquire  a  greater  proficiency  in  the  art  and  a  clearer  knowledge 
of  its  principles,  the  student  is  strongly  advised  to  read  and  write 
from  engraved  rather  than  written  phonography.  The  former  is 
generally  prepared  with  greater  care  and  presents  those  forms 
which  experience  has  shown  to  be  most  practical.  Copy  the  en- 
graved exercise  accompanying  each  lesson  in  the  copy  book, 
imitating  the  style  and  size  there  given  as  nearly  as  possible,  after 
which  prepare  the  copy  book  exercise  given  in  the  back  of  the 
book  to  take  to  the  class. 

A  good  faculty,  and  one  likely  to  insure  success  to  the  phonog- 
rapher,  is  that  of  remembering  the  correct  outline  for  each  word. 
This  may  be  acquired  by  tracing  the  outlines  of  the  words  in  the 
engraved  exercise,  accompanying  each  lesson  with  the  point.  Asso- 
ciating the  word  and  its  outline  thus  leads  the  student  to  strike  the 
correct  form  involuntarily  whenever  he  hears  the  word. 
2 


iS  PALMER'S  NEW  MANUA-L  OF  SHORTHAND. 


DERIVATION   OF  THE  CONSONANT  SIGNS. 

Experience  has  shown  the  worthlessness  of  the  common  alphabet 
for  verbatim  reporting.  No  matter  to  what  extent  abbreviation  is 
carried,  the  cumbersome  and  lengthy  forms  of  the  letters  must 
always  prove  a  barrier  to  its  ever  being  employed  as  a  system  ofo 
shorthand.  Many  systems  of  stenography,  based  on  the  common 
alphabet,  have  been  published,  and  vO  some  extent  adopted,  but  all 
have  alike  met  with  little  approval,  and  in  time  have  died  a  natural 
death.  The  common  alphabet  has,  therefore,  been  abandoned,  and 
one  more  philosophic,  and  complete  adopted — one  which  provides 
a  sign  for  every  distinct  sound  heard  in  the  language.  This  the 
common  alphabet  does  not  do,  it  often  being  necessary  to  combine 
two  or  more  consonants  or  letters  to  represent  a  single  sound. 
Take,  for  example,  the  word  match.  On  pronouncing  it  slowly  and. 
deliberately,  there  will  be  heard  but  three  distinct  sounds.  Yet  in 
the  common  orthography  five  letters  are  necessary  to  represent  this 
word,  where  but  two  single  strokes  and  a  small  dot  (the  vowel)  ex- 
press it  in  Phonography. 

As  it  would  be  impossible  to  conceive  of  a  more  simple  mark  than 
a  straight  line,  this  form  has  been  chosen  to  represent  a  large  num- 
ber of  the  letters  of  the  phonographic  alphabet.  From  the  following 
geometrical  figures,  composed  of  straight  and  curved  lines,  all  the 
forms  for  the  letters  of  the  alphabet  are  derived. 


Fig  i  Fig  2 

From  figures  I  and  2  are  derived  twelve  light  strokes,  as  follows 
Fig-.-    \     /     (      )      ^     ^. 
Fig.  2.    |  V.    >•/"*     "V 


PALMER'S  NEW  MANUAL  OF  SHORTHAND;     19 

By  making  the  same  marks  heavy,  another  twelve  can  be  obtained, 
making  24  in  all,  thus : 

Fig.  .-    N     /     (     )      *      >-  - 

Fig.  2.  i   __  ^  j  r    -\ 

These  strokes,  from  their  difference  in  slant,  as  well  as  being 
made  light  and  heavy,  are  distinct  enough  to  be  used  without  dan- 
ger of  confusion.  They  are  distributed  as  follows: 

To  the  Abrupts  are  assigned  the  straight  lines,  indicative  of  their 
abrupt  or  unyielding  nature,  and  to  the  Continuants,  Liquids, 
Nasals,  etc.,  curved  or  flowing  forms,  showing  their  flowing  or 
yielding  sounds.  (See  next  page.) 


20                          TABLE  OF  CONSONANTS. 

Letter. 

Phono- 

Name. 

Fx.-'mp^ii  i.,'  its  Power. 
Initial.                             Final. 

P 

\ 

•pe 

p    in  /et,             *i.d  p  in  ca/. 

B 

\ 

be 

b     "   ^ay,               %;     b  "   ca^. 

ti 

T 
D 
CH 

1 

I 

te 
de 
chay 

t     "   tame,            "     t   "  me/, 
d    "   </amef           '•     d  "   pait/. 
ch  "    f//est,            *'    ch  "    maic/i. 

J 

/ 

jay 

g    "  .fem,             '      g   "  ed^e. 

K 

—  • 

kay 

c     "   row,              "'     k   "    roc^. 

.      G 

_  __ 

gay 

g     •'   ^-ot,               <•     g    '<   log. 

F 

v«_ 

ef 

(     "  /ire,             •'     f    "  h/e. 

V 

^ 

ve 

v    "   vine,             "     v    "   hi^e. 

« 

TH 
TH 

( 
c 

ith 
the 

th  "  Migh,           "    th  '•'  pa/A, 
th  "   thy,              "    th  '•    w.riMe. 

'| 

S 

) 

ess 

s     "   saw,              "     ss  "   bust. 

C 

Z 

) 

ze 

z     "   zeal,             "     s    "  wa.». 

SH 

J 

i>h 

sh  "   jAock,          "     sh  "  wij^. 

.    ZH 

J 

zhe 

j     "  your(Fr.),   "     g    "   rour* 

1  I  L 

r 

el 

1     "    /ay,               "     1     "   fai/. 

•S1          R 

IO           V.         A 

^\ 

ar 

r     "   rope,            "     r    "  for. 

^           f         M 

^ 

em 

m  "   wake,           "     m  "  bea#*. 

1             N 

_ 

en 

n    "    now,             "     n    "  can. 

[    NO 

^ 

ing 

in  "    zwk,               "     ng  "   sing. 

±  ^     {      W 
•§  »    \ 

i 

way 

w  "   wade,           "    w   "  mida/oy 

§  |    \      v 

r" 

yea 

y  "  jet,                        * 

Aspiratt.      H 

f 

hay 

h   "  Aole,                          * 

PALMF.R'S  NEW  MANUAL  OF  SHORTHAND.  21 


ON   PRONOUNCING   THE  CONSONANT  SIGNS. 

The  letters  of  the  phonographic  alphabet  are  commonly  called 
consonants.  They  do,  with  few  exceptions,  bear  the  same  names 
as  the  letters  of  the  Roman  alphabet.  That  the  student  may  better 
understand  their  application  and  use,  however,  each  consonant  is 
here  given,  in  the  order  of  its  sequence,  with  representative  words 
showing  its  power,  both  initial  and  final. 

The  consonants  are  arranged  in  six  divisions  or  groups,  namely: 
Abnipts,  Continuants,  Liquids,  Nasals,  Coalescentsand  The  Aspirate 
(see  table,  opposite  page),  and  will  be  presented  in  this  order. 

AERUPTS  OR  EXPLODENTS. 

The  Abrupts  or  Explodents  are  a  class  of  sounds  produced  by  a 
complete  contact  of  the  organs  of  speech,  modifying  the  voice. 
These  sounds  are  either  voiced  or  ivhispered.  Take,  for  example,  / 
(the  first  consonant  of  fhe  phonographic  alphabet).  This  consonant 
can  be  whispered  so  faintly  that  it  can  -scarcely  be  heard.  Then 
take  b  and  pronounce  it.  You  wnl  observe  that  it  must  have  a 
sound  or  be  voiced,  no  matter  how  faintly  you  pronounce  it.  It 
•will  also  be  noticed  that  the  vocal  organs  assume  the  same  position 
for  pronouncing  b  as  for  pronouncing  /,  the  only  difference  being 
in  their  sounds.  As  the  nature  of  these  two  consonants  are  so  near 
alike,  the  same  kind  of  a  stroke  is  given  for  each,  /  being  made 
light,  to  indicate  its  whispered  ur  light  sound,  and  b  the  same 
stroke,  but  made  heavy,  showing  it  to  be  a  heavy  or  voiced  sound. 
This  is  the  case  with  all  of  the  Explodents. 

\  P.  The  first  consonant  in  the  phonographic  alphabet  is  a 
light  oblique  stroke,  and  bears  exactly  the  same  name  as  /  in  the 
common  alphabet.  It  will  be  recognized  in  th'e  following  words: 
/ay,  /ie,  /ick,  pzc\L'(initial),  and  ca/,  ra/,  ma/,  ta/,  cha/  (final). 

\B.  Trjis  stroke  is  the  same  as/,  but  shaded.  It  K  called  b, 
as  in  the  common  alphabet,  and  will  be  recognized  in  the  following 
•words :  ^ay,  tack,  £ook,  £eak  (initial),  and  ca0,  ta/5,  da4,  sta^  (final). 

|  T.  This  is  a  light  perpendicular  stroke,  resembling  somewhat 
oar  common  alphabetic  t,  without  being  crossed.  Its  name,  how- 


23  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

ever,  is  the  same,  and  will  be  readily  recognized  in  ,the  following 
words:  lime,  fake,  /ook,  Aick  (initial),  and  ma/, 'mee/1,  fee/,  ea/ 
(final)., 

|  D.  This  stroke  has  the  same  direction  as  /,  but  is  shaded.  It 
is  called  d,  as  in  the  common  alphabet,  and  is  used  in  the  following 
words:  Jay,  die,  dip,  dug  (initial),  and  lied,  liea',  spied,  dried  (final). 

I  CH.  There  is  no  letter  in  the  common  alphabet  which  beats 
the  same  name  as  this  consonant  sign  of  the  phonographic  alphabet. 
Iis  correct  sound  will  be  heard  by  pronouncing  the  last  part  of  latch, 
thus:  latch.  It  will  also  be  recognized  in  the  following  words :  <r^ap, 
fAec\i,  chime,  cheap  (initial),  and  match,  \alch,  \>atch,  ha/<r/*  (final). 

I  J.  This  stroke  has  the  same  slant  as  ch,  but  is  shaded.  Its 
name  is  the  same  as  the  common  alphabetic,/,  and  will  be  heard  in 
the  following  words:  joy,  join, yoke  (initial),  and  ca^,  pa^e,  ra^e, 
sa£"e  (final). 

—  K.  A  light  horizontal  stroke,  bearing  the  same  name  as  k,  in 
the  common  alphabet.  It  will  be  recognized  in  the  following 
words:  key,  king,  ki\.e,  <x>me,  rould  (initial),  and  par£,  rack,  \iack, 
tar^  (final). 

_  G.  This  is  another  independent  character,  its  sound  not 
being  provided  for  by  the  common  alphabet.  It  is  called  gay,  and 
is  a  shaded  stroke,  taking  the  same  direction  as  k.  Its  correct 
sound  will  be  heard  by  dropping  the  «  in  gain,  thus :  gain.  It  will 
also  be  heard  in  the  following  words :  go,  ^et,  ^ive,  ^un  (initial), 
and  ta^-,  tug,  rug,  bu^-.mu^  (final). 

CONTINUANTS. 

It  will  be  observed,  on  pronouncing  the  Continuants,  that  they, 
have  a  more  flowing  or  yielding  class  of  sounds  than  the  Explodents 
just  explained.  The  consistency,  therefore,  of  assigning  to  this 
class  of  sounds  curved  or  flowing  forms  will  be  apparent. 

V^  F.  The  first  curved  stroke  in  the  phonographic  .alphabet 
bears  the  same  name  as  /  in  the  common  alphabet^  and  may  be 
heard  in  the  following  words:  /eel,/ile,/oil,/ix  (initial),  and  bu/~, 
mu^",  deaf,  doff  (final). 

\^  V.  This  consonant  stroke  corresponds  to/ in  slant  and  curve, 
but  is  shaded.  Its  name  is  v,  as  in  the  common  alphabet,  and  will  be 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.  23 

recognized  in  the  following  words:  vine,  vain,  v&sc,  voice  (initial), 
and  cove,  czve,  gafe,  leaz/e  (final). 

(  TH.  This  may  also  be  termed  an  independent  character,  as 
well  as  the  one  which  immediately  follows,  both  representing 
sounds  not  provided  for  by  the  common  alphabet.  It  is  an  upright 
curved  stroke,  and  one  of  the  most  convenient  consonants  in  the 
phonographic  alphabet,  because  of  the  sound  it  represents.  Its 
correct  name  will  be  heard  by  pronouncing  the  first  part  of  the 
word  think,  thus  :  Mink.  It  will  also  be  recognized  in  the  following 
words:  //Sank,  Match,  Mick,  thin  (initial),  and,paM,  wraM,  haM 
(final). 

(  TH.  This  stroke  is  the  same  as  the  one  above,  except  it 
is  shaded.  It  is  called  the,  as  will  be  heard  in  the  following 
words:  Mis,  Mat,  Mus,  Mose  (initial),  and  wreaM<f,  seeM/,  syM^ 
(final). 

It  maybe  difficult  at  first  for  the  student  to  perceive  any  great 
difference  in  sound  between  these  last  two  consonants.  If  such  be 
the  case,  however,  it  will  prove  very  helpful  if  the  words  showing 
the  use  of  TH  initially,  and  the  words  showing  the  use  of  TH 
initially,  be  carefully  pronounced  aloud  and  compared  ;  afterwards, 
the  words  showing  their  final  use. 

}  S.  The  pronunciation  of  this  consonant  sign  is  precisely  the 
same  as  s  in  the  common  alphabet,  and  may  be  heard  in  the 
words:  jay,  see,  .rick,  jink,  Jtay,  jpy  (initial),  and  fuss,  paw,  glart, 
gaj  (final). 

)  Z.  This  consonant  sign  is  pronounced  *,  as  in  the  common 
alphabet,  and  will  be  heard  in  the  words:  zeal,  zebra,  zinc  (initial), 
and  craze,  maze,  gaze  (final). 

J  SH.  This  is  another  consonant  representing  a  sound  n6t 
provided  for  by  any  letter  in  the  common  alphabet.  Its  correct 
name  is  ish,  as  will  be  heard  by  dropping  w  in  the  word  wish,  thus: 
wwA.  It  will  also  be  heard  in  the  following  words :  .Mape,  .Mop, 
sAipt  jAoit  (initial),  and  nsA,  disA,  A&sh,  rzsA  (final). 

^J  ZH.  This  consonant  sign  is  called  zhe,  and  will  be  heard  in 
the  following  words :  pleasure,  measure,  treasure,  leisure.  Because 
of  the  sound  it  represents,  this  consonant  sign  is  not  used  as  often 
as  any  of  the  other  alphabetic  strokes. 


24          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


LIQUIDS. 

The  Liquid  Murmurs  have  a  more  flowing  or  yielding  class  of 
sounds  than  the  Continuants..    They  approach  almost  to  the  nature 
of  vowels,  and  unite  with  other -consonants  so  readily  as  to  form, 
what  might  be  ca}led  double  consonants. 

(~  L.  This  consonant  sign  is  pronounced  the  same  as  /  in  the 
common  alphabet.  It  is  a*light  curved  stroke,  and  its  sound  will 
be  heard  in  the  following  words:  /ay,  /ie,  /ift,  fife,  /eave  (initial), 
and  fai/,  foi/,  fu//  (final}. 

~\  R.  This  consonant  is  also  a  light  stroke,  and  bears  the  same 
name  as  the  common  alphabetic  r.  It  will  be  heard  in  the  follow- 
ing words:  rope,  race,  rice,  rock  (initial) ,- &n&  far,  fear,  fur  (final). 

NASALS. 

The  Nasals,  so  called  because  their  sounds  are  produced  by  the 
unobstructed  sounding-breath  or  voice  passing  through  the  nose, 
are  of  v«ry  frequent  occurrence.  They  arc  therefore  assigned  the 
horizontal  curves,  they  being  the  most  easily  struck  and  conveniently 
joined. 

.  x— »  M.  The  name  of  this  consonant  is  m,  the  same  as  that  of  the 
common  alphabet.  It  is  a  light  horizontal  curve,  and  its  sound 
will  be  heard  in  the  following  words:,  wake,  wet,  wight,  woney 
(initial),  and  rum,  hu/w,  ha/«  (final). 

*~*  N.  This  consonant  bears  the  same  name  as  n  in  the  common 
alphabet.  It  is  a  light  horizontal  curve,  and  its  sound  may  be 
heard  in  the  following  words:  wine,  «et,  «ote,  «ice  (initial),  and 
tint  ta«,  paw,  raw  (final). 

'**'  NG.  This  is  a  curved  horizontal  stroke  like  n,  but  shaded. 
Its  exact  pronunciation  will  be  heard  in  the  last  part  of  the  follow- 
ing words :  eat/ntf,  talkm^  doing,  playing. 

COALESCENTS. 

The  Coalescerits  and  the  Aspirate  are  the  weakest  of  all  the  con- 
sonants. They  appear  to  hold  a  middle  position  between  conso- 
nants and  vowels,  but  for  convenience  in  writing  it  is  necessary  to 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.  25 

give  them  consonant  forms.  They  are  also  provided  with  vowel 
signs,  which  will  appear  subsequently. 

~~^  W.  This  is  a  curved  stroke,  the  same  as  r,  but  shaded.  It 
is  called  way,  and  will  be  heard  in  the  following  words:  sway, 
a.~vay,  wait,  waiter. 

f  Y.  This  consonant  sign  is  also  shaded..  Its -name  is  yea,  and 
will  be  heard  in  the  following  words  :  jet,  jes,  fellow,  _yolk 

THE  ASPIRATE. 

f  H.  This  is  a  light  upuiard  stroke,  and  is  called  hay.  It  will 
be  heard  in  the  following  words :  /^ousej  his,  /tub, 

The  consonant  signs,  of  course,  can  be  used  in  the  middle  or  any 
part  of  a  word.  It  was  not  thought  necessary,  however,  to  give 
more  than  examples  of  their  initial  and  final  use. 


26  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


CONSONANTS. 
2 

1N 


-4 

1.  The  several  directions  assumed  by  the  lines  in  the  above  dia- 
gram are  those  chosen  for  the  consonant  signs  employed  in  the 
phonographic  alphabet. 

2.  The  lines  in  the  first  and  third  directions  are  inclined  exactly 
midway  between  a  perpendicular  and  horizontal  line. 

3.  Upright  and  sloping  characters  are  those  taking  the  directions 
of  lines  one,  two  and  three,  and  are  written  from  top  to  bottom,  thus  : 

\  \    I    I    /   /    V  ^    (    > 

r          B         T         D       CH         J  F  V          TH        S 

Horizontal  characters  are  those  taking  the  direction  of  line  four, 
and  are  invariably  written  from  left  to  right,  thus: 

K      ~G~    XMX    VTT'    "NQ* 

4.  The  letter"/^/,  when  standing  alone,  \&  always  written  upward. 
The  letter  _J  sA,  is  generally  written  downward. 

The  aspirate  f   h,  is  invariably  written  upward. 

5.  The  student  should  not  make  the  consonant  signs  more  than 
one-sixth  of  an  inch  in  length.     This  size  has  been  found  by  ex- 
perience to  be  the  one  most  likely  to  insure-  a  correct  and  neat  style 
of  writing.     As  he  progresses,  however,  and  becomes  more  familiar 
with  the  characters,  he  may,  with  advantage,  reduce  them  to  a 
smaller  size. 

6.  In  writing  the  heavy   curved  characters,  care  should  be  taken 
not  to  make  them  heavy  throughout,  as  this  would  give  them  a 
clumsy  appearance ;  they  should  be  merely  shaded  in  the  center 
and  taper  off  toward  each  extremity.     It  is  not  necessary  to  make 
the  straight  heavy  characters  heavier  than  is  necessary  to  distin- 
guish them  from  the  corresponding  light  strokes. 

7.  The  exercise  on  the  opposite  page  should  first  be  read  aloud 
by  the  student,  and  each  character  traced  with  a  point  as  its  name  is 
pronounced,  after  which  it  should  be  written  in  his  copy-book.    Pro- 
ceed, in  this  manner  with  all  the  shorthand  exercises  that  follow. 


27 

on  Consonant* 


P,B  NX 

The  correct  slant. 

T.D     I   I        II        II         II         II         II         II 

CH.J  ;////////////// 

ch  is  ahfciys  written  downward. 

F,V       Kl      ^     ^^    ^-^     ^^     ^    ^^ 
The  correct  slant. 

TH,^((        ((         ((         ((        ((        ((         (( 

S,Z         )))))))))))))) 
SH.ZH     JJ      JJ      JJ       JJ     JJ       JJ       JJ 

L    r/r  rrrrrrrrr 

R         ^^^^^^^^^^"^ 

N    ^__^  ^_^  N  __  ^         ^_^  ^_^ 

>*^     *x~s     >-^     ^^     \**s     X^     ^^     *^S     V-^      ^S     ^^ 

w     ">  ">  >  T  1  >  >  S  ^  ^  ^ 

Y    rrrrrrrrr  r  r 

H  ///    /.//////// 

h  is  ahi'ays  written  upward. 


28  PALMER'S   NEW    MANUAL   OF   SHORTHAND. 


CONSONANTS  COMBINED. 

8.  Two  or  more  consonants  joined  make  a  combination,  and  must 
be  written  without  lifting  the  pen,  the  second  consonant  sign  being 
commenced  where  the  first  ends,  and  the  third  joining  at  the  end 
of  the  second,  etc. 

9.  An  examination  of  the  combinations  of  consonants  on  the 
opposite  page  will  show  that  the  consonants  are  written  in  the  same 
direction  when  joined  as  when  standing  alone,  the  only  exceptions 
being  in  the  manner  of  writing  _J  tA  and  f  /,  which,  for  conve- 
nience  in  joining,  may  be  written  either  upward   or  downward. 
See  lines  12  to  14. 

10.  When  a  combination  is  composed  of  one  or  more  horizontal 
strokes,  followed  by  a  single  descending  one,  write  the  horizontal 
strokes  sufficiently  high,  that  the  descending  stroke  shall  rest  upon 
the  line.     See  line  4. 

Combinations  composed  entirely  of  horizontal  strokes,  as  in  lines 
5  and  6,  should  rest  upon  the  line. 

When  a  combination  consists  of  two  descending  strokes,  as  in 
line  7,  the  first  should  be  struck  down  to  the  line,  and  the  second 
below  it. 

Combinations  composed  of  straight  letters  taking  the  same  direc- 
tion are  struck  with  a  single  movement  of  the  pen  and  made  double 
the  length  of  a  single  stroke.  See  line  8. 

11.  There  should  always  be  an  angle  between  such  combinations 
as  f-n,  f-ing,  l-m,  th-k,  etc.     See  line  9.     But  when  writing  such 
combinations  &s/-r,  p-n,  l-ingt  b-ing,  etc.,  there  should  be  no  angle. 
See  line  10. 

12.  When  two  consonants  are  joined  that  do  not  form  a  distinct 
angle,  and  if  one  or  both  be  heavy,  as  in  the  combinations  b-ingt 
p-b,  t-dtf-g,  they  should  be  so  Wended  when  written  that  the  point 
of  junction  shall  not  be  discernible. 

13.  The  engraved  exercise  on  the  opposite  page,  and  al!  the  short- 
hand exercises  that  follow,  are  written  with  reference  to  ruled  lines. 
See  Copy  Book  Exercise,  p.  122. 


7      ^ 


l_.     _/_ 


-C- 


12 


'3    -^ 
'5 


r 


30  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


ADDITIONAL  CHARACTERS  FOR  S  AND-Z 

14.  Observation  has  shown  that  the  sounds  s  and  &  are  of  more 
frequent   occurrence   than  any  others  heard  in  the  language.     For 
this  reason,  and  because  of  the  graceless  and  awkward   combina- 
tions that  would  result  from  an  exclusive  use  of  the  alphabetic 
forms   given,  it  has  been   found  necessary  to   provide  additional 
characters  to  represent  these  sounds.     The  best,  because  the  most 
easily  written- and  conveniently  joined,  is  a  small  circle,  thus,  °. 

15.  When  standing  alone,  a  distinction  should  be  made,  when 
naming  the  two  forms  for  s  and  z,  by  calling  them,  when  represented 
thus,   ),  ),  stroke  s,  z,   and  when  represented  thus,  °;  circle  s,  *. 
When  joined  to  a  consonant  the  circle  is  of  course  named  with  it. 

1 6.  When  joined  to  single  straight  consonants,  the  circle  should 
be  written  on  the  right-hand  side,  that  is,  struck  by  a  motion  from 
right  to  left.     See  line  I. 

When  joined  to  single  curved  consonants,  the  circle  follows  the 
direction  of  the  curve.     See  line  2. 

17.  When  the  circle  is  written  between  Jwo  straight  consonants 
that  form  an  angle  at  their  junction,  write  the  circle  on  the  outer 
side.     See  line  3. 

18.  When  the  circle  occurs  between  a  straight  and  a  curved  con- 
sonant, write  it  on  the  inner  side  of  the  curved  consonant.     See 
lines  4  and  5. 

19.  When  the  circle  is  written  between  two  curves,  struck  in  the 
same  direction,  it  should  be  written  on  the  inner  side  of  both  (see 
line  6);  but  when  written  between  two  curves  struck  in  opposite 
directions,  write  it  on  the  inner  side  of  the  first  curve.     See  line  7. 

20.  When  the  circle   occurs   between   two   straight   consonants 
written  in  the  same  direction,  write  it  to  the  first  as  if  it  were  a 
single  consonant.     See  line  8. 

21.  When   the   circle   occurs  between   two    curved   consonants 
forming  an  angle  at  their  junction  and  struck  in  opposite  directions, 
it  should  be  written  on  the  outer  side  of  the  angle,  as  in  line  9. 
Such  combinations,  however,  are  very  rarely  used.     See  Copy  Book 
Exercise,  p.  123. 


14 


32  ^ALMER'S  NEW  MANUAL  OF  SHORTHAND. 


ADDITIONAL  CHARACTER  FOR  K. 

22.  Like  the  consonants  s  and  z,  it  has  been  found  necessary  to 
provide  an  additional  character  to  represent  r  other  than  ~^r,  given 
.in  the  exercise  on  page  27.  Not  that  its  sound  is  of  so  frequent 
occurrence,  but  on  account  of  the  curved  form  being  in  many  cases 
awkward  to  join  with,  other  consonants  and  form  graceful  or  flowing 
combinations. 


23.  If  a  curved  line  be  drawn  from  the  top  of  t  to  the  end  of  k, 
as  shown  in  the  above  diagram,  the  quarter  of  a  circle  will  be  de- 
scribed.    A  circle,  as  all  know  or  may  know,  contains  360  degrees ; 
this  quarter  circle,  therefore,  contains  90  degrees,  which  admits  of 
being  equally  divided  into  thirds  by  drawing  lines  30  degrees  apart. 
The  line  60  degrees  from  the  horizontal  stroke  k  is  /  ch,  and  is  in- 
variably written  downward,  and  the  line  30  degrees  from  the  hori- 
zontal stroke  furnishes  the  additional  character  for  /r,  which  is 
invariably  written  upward.     See  exercise  on  the  opposite  page. 

24.  When  naming  the  two  forms  for  r,  it  is  customary  to  speak 
of  the  curved  form  as  the  downward  r  and  the  straight  form  as  the 
upward  r. 

25.  When  the  circle  s  or  2  commences  a  combination  and  is  im- 
mediately followed  by  the  upward  r,  it  should  be  written  on  the 
left-hand  side.     See  lines   10  and  II      But  when  joining  with  the 
upward  r  in  the  middle  or  other  parts  of  a  combination,  it  may  be 
written  on  the  most  convenient  side.     See  lines  12  and  13. 

26.  In  such  combinations  as  t-r-r,  f-r-r,  r-r-n,  m-r-r,  etc.,  the  up- 
ward r  should  be  made  double  length,  and  with  a  single  -movement 
of  the  pen.     See  lines  8,    and   9.  See  Copy  Book  Exercise, 
p.  123. 


34 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


LONG   VOWELS. 

27.  Vowels   are   smooth    harmonious   sounds   produced   by   the 
organs  of  speech,  modulating  but   not   obstructing    the   sounding 
breath. as  it  is  expelled  from  the  lungs. 

28.  While  all  the  vowels  employed  in  the  Roman  alphabet  are 
included  in  the  phonographic  vowel  scale,  it  has  been  found  neces- 
sary to  add  additional  signs  to  represent  sounds  not  provided  for  by 
the  old  scheme,  a,  e,  i,  o  and  u. 

29.  The  phonographic  vowel  scale  first  provides  for  the  six  long 
or  open  sounds  heard  in  the  language.     They  are  arranged  in  the 
following  natural  and  convenient  order: 

E  A  AH  AW  O  OO 

These  are  called  the  primary  or  long  vowels,  and  their  correct 
names  will  be  heard  in  the  beginning  of  the  following  words: 
«xt  ate  arm  all  0ak  0<?ze 

30.  The  six  long  vowels  are  indicated  by  heavy  dots  and  dashes 
placed  respectively  at  the  beginning,  middle  and  end  of  a  consonant. 
The  first  three  vowels  are  represented  by  a  dot  placed  near  to  but 
not  touching  the  consonant.     The  last  three  vowels  are  represented 
by  a  short  stroke  or  dash  invariably  written  at  right  angles  to  the 
consonant  but  not  touching  it.      See  opposite  page. 

^p-sWhen  a  vowel  is  placed  on  the  left-hand  side  of  an  upright 
or  sloping  consonant  it  is  read  before  the  consonant;  and  when 
placed  on  the  right-hand  side  it  is  read  after  the  consonant.  See 
lines  I,  2  and  3,  and  9,  IO,  II. 

32.  When  i  vowel  is  placed  above  a  horizontal  consonant  it  is 
read  before  the  consonant;  and  when  written  under,it  is  read  after 
the  consonant.     See  lines  3»  5>  IO  and  I2« 

33.  As  the  consonants  /""/,  /  r  and^  h  are  struck  upward,  their 
point  of  commencement  would  be  at  the  bottom.     It  is  necessary, 
therefore,  when  placing  vowels  to  these  consonants,  to  reckon  them 
from  the  bottom,  that  being  the  beginning  of  the  letter.     See  lines 
6,  7  and  & 

The  exercise  on  the  opposite  page  should  be  carefully  copied  in 
the  student's  copy  book. 


t-e 

r 

fh-e 


5    r 

6 

7 

8 


12      -^ 


t-a 


ch-a 


I. 
/-a/A 

/ 
cli-ah 


t-aw 

r 

ch-aw 


a-t 


preceding. 


ali-t  a-.v-t 


•t-o 


X 
•X 


o-t 


t-oo 

L 


Oii-t 


36  PALMER'S  NEW  MANUAL  OK  SHORTHAND. 


LONG  VOWELS.— CONTINUED. 

34.  The  spelling  of  words  phonetically  differs  so  widely  from  the 
usual  method  of  representing  them  according  to  English  orthography, 
that  a  word  written  both  ways  and  compared  would  bear  no  resem- 
blance whatever  in  outline  or  number  and  quality  of  the  sounds  used 

•  to  represent  it.     The  old  method  of  spelling  and  writing  is  therefore 
set  aside  and  an  easier  and  moire  natural  one  employed,  namely  : 

(a)  To  spell. words  by  their  sounds. 

(/')  To  represent  the  sounds  heard  in  words  by  the  simplest  pos- 
sible signs. 

(a)  To  spell  a  word  phonetically  is  to  analyze  it  into  its  phonetic 
elements,  regardless  of  the  number  of  sounds  employed  to  represent 
it  by  the  old  method. 

(b)  To  write  a  word   phonographically  is  to  represent  only  the 
sounds  heard  in  it  by  characters  of  the  phonographic  alphabet  and 
vowel   scales,  whose   signs   stand   for  the   same  sounds  under  all 
conditions. 

35.  The  consonants  of  a  word  form  what  is  termed  its  skeleton  or 
outline,  and  must  be  written  without  lifting  the  pen.     The  vowels 
are  inserted  afterward. 

36.  A  vowel  placed  at  the  beginning  of  a  consonant  is  termed  a 
first-place  vowel ;   a  vowel  placed  at  the  middle  of  a  consonant  a 
second-pface  vowel,  and  a  vowel  at  the  end  of  a  consonant  a  third- 
place  vowel. 

37.  The  long  vowels  and  all  the  vowels  that  .follow  must  be  pro- 
nounced as  single  sounds,  thus:  e  as  heard  at  the  beginning  of  eat; 
a  as  in  ate;  ah  as  heard  at  the  beginning  of  alms,  and  not  as  a-aitch, 
an  as  awe,  not  as  a-you ;  o  a*  c^ue ;  oo  as  in  oolong,  and  not  double-o. 

38.  It  may  be  difficult  at  first  for  the  student  to  determine  what 
are  the  exact  sounds  heard   in  some  words.     This  difficulty  will  be 
easily  overcome  if   the  student   will  carefully   note   the  deliberate 
utterance  of  words  rather  than  their  usual  colloquial  sound. 

39.  The  consonant  J  sh,  when  struck  upward,  must  be  vocalized 
from  the  bottom.     See  line  II. 

See  Copy  Book  Exercise,  p.  124. 


3     t- 


s   )' 


12 

•3 

14  L 


r 


X 


z: 


L 


C          (• 


X 


< 


k-oo-p' 
coop 


(- 

7 


^T          XT  -\ 

-O-        T      -<L 


38  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


SHORT  VOWELS. 

40.  The  short  vowels  resemble  very  closely  the  long  vowels  just 
explained,  but  their  sounds  are  briefer.     The  following  comparison 
of  words  containing  short  vowels  and  those  containing  long  vowels 
will  better  illustrate  their  difference  in  sound  : 

Short  vowels :  fit,    pet,   pat,     not,        nut,  foot. 
Long  vowels :  peat,  pate,  palm,  nouglit,  tiote,  food. 

41.  As  the  vocal  organs  assume  nearly  the  same  positions  for  the 
utterance  of  the  short  vowels  as  for  those  of  the  long  vowel  scale, 
they  are  consistently  represented   by  the  same  characters,  dots  and 
dashes,  written  in  the  same  position  as  for  the  long  ones,  but  made- 
lighter  to  indicate  their  brief  character,  thus: 

i  I  a  6  u  66 

1  "I  .1  1  -I  J 

til  ill  am  on  tip  foot 

42.  It  will  be   found   more  convenient,  when  speaking  of  the 
short  vowels,  to  affix  the  letter  t  to  each  and  call  them  severally,  it, 
tt,  at,  ot,  ut,  66t;  but  when  spelling  words  containing  them,  this 
added  /  must  of  course  be  dropped.     The  short  vowels  must  never 
be  called  short  e,  short  a,. short  ah,  etc. 

43.  When  writing  a  vowel  between  two  consonants,  it  is  possible 
to  place  it  after  the  first  consonant  or  before  the  second.     To  insure 
uniformity  of  writing,  therefore,   the    following    rules    for  placing 
vowels  between  consonants  should  be  observed: 

FIRST-PLACE  VOWELS  must  follow  the  first  consonant, 
j  SECOND-PLACE  VOWELS  must  follow  \\\z  first  consonant  when  tney 
are  long,  and  precede  the  second  when  short.     See  lines  3,  4  and  «j. 
XfHiRD-PLACE  VOWELS  always  precede  the  second  consonant.     See 
lines  6  and  7. 

44.  When  vocalizing  such  words  as  poet,  poem,  duel,  etc.,  where 
two  vowels  are  written  between   two  consonants,  the  first  vowel  is 
written  after  the  first  consonant,  and  the  other  vowel  placed  before 
the  second  consonant.     See  line  14. 

See  Copy  Book  Exercise,  p.  124. 


4-O  PALMER  S    NEW    MANUAL   OF    SHORTHAND 


WORDS  CONTAINING  CIRCLE  AND  STROKE  S  AND  Z. 

45.  When  vocalizing  outlines  containing  circle  s  or  z  there  is 
no  interference  with  the  rules  for  placing  vowels  previously  given, 
A  vowel  immediately  preceding  a  consonant"  stroke  that  has  an 
initial  circle,  or  a  vowel  immediately  following  a  consonant  stroke 
with  a  final  circle,  is  written  to  the  consonant  as  though  it  had  no 
circle  attached,  thus  : 


it  ache  oak 


sit  sake  soak  speak  spoke  sleep 

464  The  circle  s  or  z  must  a/ways  be  ready?/?/  when  it  begins,  and 
last  when  it  ends  an  outline. 

47.  When  a  word  contains  an  initial  circle  s,  the  circle  is  read 
first,  then    the    vowel  sign,  if  any  precedes    the    consonant,   next 
the  consonant,  then,   its  following  vowel   sign,  and   lastly  a  final 
circle,  if  there  be  one. 

48.  The  circle  should  be  used  when  writing  words  that  begin,  or 
end  with  the  s  sound.     See  lines  I,  2  and  3. 

49.  When  writing  a  second  place  short  vowel  to  a  combination 
where  the  circle  is  the  second  consonant,  it  is  of  course  impossible 
to  write  it  according  to  the  rule  for  placing  short  vowels  given  in 
paragraph  43;  in  such  words,  write  the  vowel  to  the  first  consonant. 
See  lines  4  and  5. 

50.  The  circle  s  is  made  twice  the  size  of  a  single  circle  for  double 
pronounced  ses,  as  heard  in  pieces,  paces,  fa<es,  etc.     See  line  6. 

When  great  accuracy  is  desired,  the  large  circle  may  be  shaded  on 
the  down  stroke  for  the  sound  zez,  as  heard  in  roses,  noses,  etc.  See 
line  7. 

51.  \Vords  commencing  with  the  sound  z,  as  zeal,  zeno,  zinc,  etc., 
should  be  written  with  the  stroke  z.      See  line  8. 

52.  When  s  or  z  is  the  only  consonant  in  a  word,  the  stroke  form 
must  be  used  to  give  position  to  the  vowel.     See  line    9. 

53.  When  a  word  begins  with  a  vowel,  and  is  immediately  fol- 
lowed by  s  or  z,  use  the  stroke  form.  ,  See  lines  10  and  n. 


,  f 

s-t-a 
Slav 


\s-n-a-k 
snake 


6     \o 

p 

C,  puces 


r-o-ztz 
. .  roses 


J- 


-) 


s-p-e-k 
speak 


s-m-o-k 
smtoke 


f. 


L 


L 

7> 

3 


s-p-o-fi 
spoke 


n 


42  PALMER'S  NEW  MANUAL  OE  SHORTHAND, 

54.  When  a  word  terminates  with  a  vowel,  immediately  preceded 
by  s  or  z,  use  the  stroke  form.     See  line  12,  p.  41. 

55.  When  a  word  contains  the  double  sound  of  j,  and  is  followed 
by  a  vowel,  as  in  sissy,  saucy,  etc.,  write  the  circle  first,  then  the 
stroke  s,  but  when  j  is  final,  as  in  cease,  assess,  etc.,  write  the  circle 
last.     In  such  woms^as sa-ws, says,  etc.,  the  stroke  z  should  be  used. 
See  line  ^  13  and  ftTp7  4*. 

See  Copy  Book? -Exercise,  p.  125. 


DIPHTHONGS. 

56.  A  diphthong  is  a  sound  produced  by  the  union  of  two  simple 
vowels  into  one  sound  or  syllable. 

57.  The  English  language  contains  but  four  perfect  diphthongs. 
Their  correct  sounds  will  be  heard  by  pronouncing  the  italicized 
portion  of  the  following  words : 

by,  t<y,  \>ough,  few. 

58.  These  sounds  are  represented  by  small  angular  marks  (except- 
ing u,  which  is  curved),  placed  at  the  beginning  or  end  of  a  stroke, 
thus: 

VI  At  I  I 

I  J     *ce,  Ol     I    Ml,          Ow  A!    ow\>  U  J   few. 

59.  The  diphthongs  do  not  accommodate  themselves  to  the  posi 
tion  of  a  consonant,  as  do  the  stroke  vowels  (which  are  written  at 
right  angles  to  the  consonant),  but  always  retain  the  direction  as 
shown  above,  namely,  pointing  exactly  up  or  down. 

60.  Though  the  sign  respresenting  the  diphthong  I  is  generally 
written  in  the/irst  position,  it  would  not  be  mistakeri  if  written  in 
any  position,  being  an  independent  character.     See  lines  i  to  7. 

61.  The  signs  for  01  and  ow  being  alike,  a  distinction  is  made, 
by  writing  the  former  in  ihejirst  position  (see  lines  8  and  9  ),  and 
the  latter  in  the  third  position  (>ee  lines  10  to  13. 

62.  When  w  precedes  the  diphthongs  i,  oi and  ow,  the  treble  sounds 
n'i,  woi  and  wow  are  produced.     See  line    14,  These 
sounds  are  represented  thus : 


1 


WOW     II 


5 
6 

7 

V 

8  ^ 

'>-Qi,  boy. 

9  V 


b-i 


sh-i 
<>>>> 


J        \ 


u 
/A 




)  bough.          A 


V 

r 


5>-A 


s-t 
sig/t 


/A  A/ 


\ 


lit 


/\ 

7 

9 


14 


44  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE   COALESCENTS. 

63.  By  prefixing  w  or  y  to  the  simple  vowels  e,  a,  ah,  aw,  0,00, 
the  double  sounds  we,  wa,  wah,  waw,  wo,  woo,  and  ye,  ya,  yah,  yaw, 
yo, yoo,  are  produced,  as  heard  in  the  following  words: 

•weed,         wade,         waft,         walk,         woke,         wooed, 
yc,  yea.  yarrow,     yawn,        yolk,         you. 

64.  These  double  sounds  are  conveniently  represented  by  a 'small 
half-circle,  placed  respectively  at  the  beginning,-  middle,  and  end 
of  a  consonant,  thus: 

^"l  <|  J  1  -I  J 

WA,        WAH,        WAW,        wo,         woo. 

J  1  "I  J 

YE,  YA,  YAH,  YAW,  YO,  YOO. 

65  These  signs  are  made  light  to  indicate  the  briefer  sounds  as 
heard  in  wit,  wet,  yet^&c.  The  broader  sounds  as  heard  in  weed, 
•wade,  walk,  ye,  yawn,  yolk,  etc.,  require  the  sign  to  be  slightly 
shaded.  This,  ho.wever,  is  seldom  necessary,  except  where  great 
precision  is  desired. 

66.  Like   the   diphthongs,  the   coalescents   never  accommodate 
themselves  to  the  direction  of  a  consonant  to  which  they  are  placed, 
but  are  always  written  as  shewn  above.     Indeed,  from  the  number 
and  similarity  of  the  signs,  it  is  necessary  that  the  student  exercise 
even  extra  care  to  write  them,  in  the  proper  direction.     See  Exercise, 
p.  126. 

THE  INITIAL   JF-HOOK. 

67.  A  small  initial  hook  joined  to  f  I,  the  upward  / r,  ^-*  m, 
and  ^_,n,  expresses  w,  thus:/f~  wl,tSivr,£-^~jum,  and^_,  ion. 

68.  The  initial  w-hook  is  readyfrrf,  then  the  vowel,  next  the  con- 
sonant, and  lastly  a  vowel  or  circle,  if  any.     See  lines   6  to  10. 

69.  The  circle  °  j  is  written  within  the  hook  when  preceding 
words  written  with  the  ro-hook.     See  line  II. 

See  Copy  Book  Exercise,  p.  126. 


we-p 
•weep 


T 

s-we-t 
sweet 


•we-d 
•weed 


•we-d-i 
•weedy 

< 


0 
Ol 


s-we-p 
sweep 


T 

s-we-d 
swede 


7       J 


"gxtvctst  on  initial  «Sl  BooH. 


r 


r 


8    .(T 


w-i-n  wn 


II 

s-w-a-r  swear 


^ — • 


46  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


DOUBLF  CONSONANTS. 

70.  In  the  English   language  the   liquids  /  and  r  are  very  often 
found  uniting  with  other  consonants,   forming,  as  it  were,  conso- 
nantal diphthongs.     These  sounds  blend  so  imperceptibly  that  it  re- 
quires no  more  effort  to  pronounce  them  than  it  does  to  pronounce 
the  single  consonants,  as  will  be  observed  on   pronouncing  the  fol- 
lowing words : 

Single :  /ay,   </ug,  /ag,  ^y,  /each,   ^each. 
Double':  //ay,   </mg,  y?ag,  gray,  /reach,  Msach. 

71.  The  fact  that  /  and  r  coalesce  with  nearly  all  the  consonants, 
naturally  suggests  a  slight  modification  of  the  simple  letters  to  ex- 
press these  combinations.     This  is  effected  in  the  following  beauti- 
ful way : 

\  v  x.  i    f   1  /  /  ;       ._ 

P          PL        PR         T        TL     TR   CH   CHL   CHR       K  KL          K.R 

72.  The  initial  hook  must  never  be  considered  as  the  letter  /  or  r 
when  written  to  a  consonant.     It   is   the  stem  and  hook  together 
which  form  the  double  consonant  series. 

73..  When  naming  the  characters  of  the  double  consonant  series, 
they  must  be  pronounced  as  indivisible;  compounds,  thus  :  = —  as  k, , 
•and  not  as  k-r\  ^  as//,  and  not  as/-/.  This  remark  applies  to  all 
the  characters  of  the//  and/r  series  of  double  consonants. 

74.  The  student  will  notice,  when  attempting  to  write  the  double 
consonants  for  the  first  time,  that  those  of  the  pr  "X series  are  much 
easier  to  form  accurately  than  those  of  the  //  \.  series ;  hence  the 
reason  for  assigning  to  the  pr  series  the  left-hand  hook,  and  to  the 
//  series  the  right-hand  hook,  and  not  the  reverse,  because  the 
combinations  pr,  tr,  kr,  etc.,  occur  five  times  as  often  as//,  //,  /•/, 
etc.  See  opposite  page. 

75  The  double  consonant  signs  of  the  //  and  pr  series  are  vocal- 
ized the  same  as  if  they  were  single  consonants.  See  paragraphs 
31  and  32. 

See  Copy  Book  Exercise,  p.  126. 


-  \y 


14 


t       1-       T 


V. 

r     t 


-i 


r    t 


48 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


DOUBLE  CONSONANTS.— CONTINUED. 


TL 
PL        P       CHL 


TR 
PR         1         CHR 


KL 


76.  If  che  left  hand  be  held  up,  with  the  forefinger  bent  as 
shown  in  the  above  diagram,  the  outline  of  //  will  be  seen,  and  by 
turning  the  hand  jound  in  the  different  positions,  all  the  double 
consonants  of  the//  series  will  be  formed.  If  the  right  hand  be  held 
up  in  like  manner,  the  outlines  of  the  tr  series  can  be  formed. 
,'77  The  student  will  observe  that  the  Left  hand  (which  word 
commences  with  L\  forms  the  /-hook  series  of  double  consonants, 
and  that  the  Right  hand  (which  word  commences  with  R)  forms 
those  of  the  r-hook  series. 

78.  When  forming  the  curved  double  consonants  //-and  thr,  there 
is  an  apparent  disorder  necessitated  by  the  form  of  the  characters  ; 
when  properly  viewed,  however,  they  are  in  strict  analogy  with  the 
straight  consonants.     If  4he  character  ^  //  be  formed  of  a  piece  of 
wire  and  turned  overc\  pr  will  be  seen  ;  in  the  same  way,  ^  Jl  re- 
versed .gives  °^  fr.     It  may  also  be  observed  that    "^  )  are  not  re- 
quired for  rr  and  sr,  such  combinations  not  being  consonant  diph- 
thongs, and  never  occur  in,  a  syllable  without  a  vowel  between 
them.     The  /  and  r  hook  is  never  written  to  strokes  s  and  z,  ing,  w, 
and  k,  nor  is  the  /-hook  used  with  /,  or  the  r-hook  with_y,  or  either 
form  of  r. 

79.  The  double  consonant  cJ  shl  is  always  written  upward,  and 
must  never  stand  alone  (for,reasons  which  will  appear  subsequently). 
See  line  13 

80.  When  writing  the  characters  of  the  //  and  pr  series,  the  stu- 
dent should  avoid  making  the  hook  too  large  —  the  size  shown  in 
the  exercise  on  the  opposite  page  is  sufficiently  large.     When  join- 
ing, however,  it  is  not  always  possible  to  form  the  hook  perfectly; 
in  such  cases  the  hook  may  be  made  slightly  open.     See  line  14. 

See  Copy  Book  Exercise,  p.  126. 


L 


-5 

s 


.,  . 


•3N) 


s 


J 


/-^  flee         fl-a-m  flame 


fr-e  free    fr-e-z  freeze    fr-a-in  frame    fr-e-k  freak       fr-a-l  frail 

T  «)  V  *) 

3  J  J-  )  o)< 
thr-e  three 

4  J  JL 


-5 


3 
J 


"7 


A 


•c 


V 


50  PALMER'S  HEW  MANUAL  OF  SHORTHAND. 


THE  TREBLE  CONSONANTS. 

81.  From  the  series  of  double  consonants  just  explained,  a  series 
of  treble  consonants  is  formed,  by  preceding  the  double  consonant 
with  the  s  sound,  as  heard  in  the  words  spring,  strip,  stroke,  etc. 

82.  When  s  precedes  a  character  of  the  *\pr  series  of  straight 
consonants,  the  s  is  expressed  by  making  the  hook  into  a  circle, 
thus: 


PR  SPR  TR  STR  DR  SDR  KR  SKR 

83.   When  preceding  characters  of  the  \^pl  series  of  straight  con- 


sonants, the  circle   must  be  written  within  the  hook,  to  distinguish 
it  from  the  simple  combination  ^  s-p,  etc.,  thus: 

\rfrp__ 

PL  SPL  TL  STL  DL  SDL  KL  SKL 

84.  When  s  precedes  characters  of  the  //  or  fr  series  of  curved 
consonants,  both  the  circle  and  the  hook  must  be  written,  thus  : 

^.      X       t^       *Y      *N        *V      "> 

FL,  SFL  VL  SVL  FR  SFR  VR  SVR 

85.  When  the  °\  spr  series  of  consonants  occur  in  the  middle 
of  a  word,  it  is  necessary  to  write  both   the  circle   and   the  hook. 
(see  lines  10  and  1  1  except  after  j  t  or  |  d,  where  the  circle  must  be 
turned  to  the  right  in  order  to  join  the  treble  consonants  skr,  sgr, 
sfr,  or  svr.     See  line  12. 

86.  When  vocalizing  the  spl  or  spr  series  of  consonants,  the  cir- 
cle is  invariably  read  first  (in  accordance  with  the  rule  explained  in 
paragraph  46),  then  the  vowel,   next  the    double  consonant,   and 
lastly  a  final  vowel  or  circle  if  any.     See  line  6. 

87.  When  the  treble  consonants  occur  In  the  middle  of  a  word, 
it  is  sometimes  difficult  to  write  the  circle  within  the  hook  very  ac- 
curately ;  in  such  words  the  circle  is  lengthened   into  a  loop,  still 
Detaining  the  hook  form.     See  lines  9    and  13. 

See  Copy  Book  Exeicise,  p.  127. 


iss  on  gveblt  Cousouants., 


ipr-i          spr-i-ti'j- 
spree  spray  sffiag 


spl-i-s 
splice 


4 
5 

6 


C1 


s-a-fr 

s-i-vl 
"*^/ 


. 


•TTV 


t-  ^ 


l-<f       spr-ii-ng 
rung* 


f 


1  1 

I  1 

b  b 


TX 

K  I 

*v    > 

C     s 


f      ^     'r 

"r  r        ~^\ 

U — sJ.  !• 


'^^tx 


^ 
tft 

^ 


52  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE  ASPIRATE,  OR  BREATHING  H. 

88.  In  English,  the  aspirate,  or  breathing  h,  is  invariably  fol- 
lowed by  a  vowel ;   far  this  reason  the  sounds  indicated  by  it  are  as 
numerous  and  unlike  as  are  the  vowels  it  precedes. 

89.  To  express  the  aspirate  h  by  an  absolute  sign  would  occasion 
graceless  and  awkward  outlines.     It  is,   therefore,  represented  in 
several  ways,  viz. : 

1.  The  stroke  form  f ' h  which  is  invariably  written  upward,  and 
used  when  h  is  the  only  consonant  in  a  word.     See  line  i.     The 
stroke  h  is  also  used  with  other  consonants.     See  lines  2  and  3. 

2.  By  writing  a  small  dot  before  the  vowel  sign  preceded  by  the 
aspirate.     See  line  4. 

3.  By  a  small  slanting  tick  struck  downward,  in  the  direction  of 
ck,  at  the  beginning  of  k,  g,   stroke  z,  /,  downward  r,   m  and  TV. 
See  lines  5  to  u.    The  tick  aspirate  may  sometimes  be  conveniently 
joined  to  the  double  consonants.     See  line  12.     And  also  be  used 
in  the  middle  of  a  word.     See  line  12. 

The  tick  aspirate  is  always  read  first  when  it  begins  an  outline. 

4.  When  the  aspirate  precedes  words  written  with  the  iv  hook,  it 
is  conveniently  expressed  by  thickening  of  the  hook.     See  line  13, 
opposite  page. 

90.  The  dot  aspirate  should  be  placed  at  the  side  of  dash  vowels 
tnd  not  at  the  end.     When  preceding  dot  vowels  the  dot  aspirate 
should  be  so  written  that  a  line  connecting  the  two  dots  would  be 
at  right  angles  to  the  consonant. 

91.  When  s  follows    an  initial  h,  as  in  husky,  hasten,  house,  etc., 
the  stroke  h  should  be  used.     See  line  14. 

92.  There  is  no  danger  of  the  dot  aspirate  being  mistaken  for  a 
short  vowel,  as  a  short  vowel  never  occurs,  in  English,  before  an- 
other  vow<5l  in  the  same  position. 

See  Copy  Book  Exercise,  p.  128. 


h-aw* 

haw   _. 


hoe  hiss 


3    -£ 


h-a-k  hack 


house 


h-a-z 
haze 


j         A         t 


.H- 


V     V     \     ^    V 


h--w-e-l  w/ieel 


14 


r 


54  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE  N  HOOK. 

93.  A  convenient  and  beautiful  way  of  representing  »  other  than 
by  the  stroke  form  — ^  «,  which  has  been  given,  is  to  express  it  by 
a  final  hook,  written  on  the  left-hand  side  of  upright  and  sloping 
characters  (see  lines  I,   2  and  3),  and  on   the  under  side  of  hori- 
zontal strokes.     See  line  4. 

94.  After  curves  the  n  hook  follows  the  direction  of  the  curve. 
See  lines  5  and  6. 

95.  The  n  hook  can  be  joined  to  any  of  the  single  consonant 
strokes,  straight  or  curved  (see  lines  I  to  6),  and  to  any  consonant 
with  an  initial  appendage. 

96.  Like  the  circle  s,  the  n  hook  is  always  read  last  when  it  ends 
an  outline. 

97.  The  student  will  now  understand  why  the  outline  ^  can  not 
represent  ski,  when  standing  alone.    See  paragraph  79.    Such  outline, 
when  standing  alone,  or  written  downward,  being  shn.     See  line  5- 

98.  The  n  hook  may  be  used  with  advantage  in  the  middle  of  a 
word,  when  the  stroke  form,  would  give  a  poor  outline.     See  line   7. 

99.  By  making  the  n  hook  on  straight  letters  into  a  circle,  s  or  z 
is  added ;  thus,  \,  pns,  J   ins,  _,,  kns.     See  line    8.  To 
express  a  simple  stroke  with  j  or  *  attached,  would  be  to  write  the 
circle  on  the  other  side  of  the  stroke ;  thus,  — o  ks,  \o  /•?>  I  &»  e*c- 

100.  After  curved  letters,  followed  by  the  »  hook,  s  or  z  is  ex- 
pressed by  writing  the  circle  within  the  hook.     See  line    9. 

101.  The  n  hook,  followed  by  s  or  z,  may  sometimes  be  conveni- 
ently employed  in  the  middle  of  a  word.     See  line  10. 

102.  To  express  a  vowel  after  n,  the  stroke  n  must  be  used  to  give 
position  to  the  vowel,  thus : 

V^^_^    Fanny,    . — ~~L>  money,  etc.    See  line  II. 

103.  To  express  n-ses,  as  heard  in  dances,  prances,  tenses,  etc. ,  the 
ns  circle  on  straight  letters  may  be  made  twice  the  usual  size.     Sea 
lines  12  and  13.     ~S>\\\.  fences,  flounces,  etc.,  must  be  written  with  the 
stroke> «,  as  it  is  impossible  to  write  a  large  circle  within  the  »  hook. 

See  Copy  Book  Exercise,  p,  128. 


J/-^V     /-*^> 

pine  pain 

3     JA  IT 


p-a-n-s 
pains 


bone  tone  plain 


S,    -* 


s-p-^ 
spine 


3-      r     j" 


C          C 


J.      J- 


tf^a-tt-sa 

Mances 


13 

H 


56  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


MP,  MR,  AND  NR. 

104.  The  sound  mp,  as  heard  in  pomp,  pump,  plump,  jump,  etc., 
being  of  frequent  occurrence,  is  conveniently  represented  by  a  sepa- 
rate sign,  namely,  a  shaded  s~*  m  ;  thus,  -^  mp.     See  lines  i,  2  and 
3.     The  student  will  notice,  by  referring  to  page  19,  that  up  to  this 
time  the  shaded  form  of  m  has  not  been  employed. 

105.  The  sign  >~s  (used  to  represent  mp}  may  sometimes  be  used 
to  represent  the  sound  mb,  as  heard  in  embargo,  mfellish,  etc.     See 
line  4.    The  sign  should  never  be  used  to  represent  mb  when  the 
word  written  with  it  is  liable  to  conflict  in  meaning  with  one  em- 
ploying it  as  mp. 

106.  The  tick  h  may  be  written  to  mp  or  mb  in  such  words  as 
hemp,  hump,  etc.     See  line  5> 

107.  R  may  bemadded  to  the  consonants  ^-^  m  and «  by  a 

small  initial  hook  written  to  the  shaded  form  ;  thus,  <?~\  mr,  ^^  nr. 
See  lines  6  and  7. 

108.  It  is  necessary  to  shade  m  and  n  when  they  take  the  r  hook 
to  distinguish  them  from  <r-^  wm  and  <^s  ion.     See  paragraph  67. 

LR,  RL,  ML  AND  NL. 

109.  A  large  initial  hook  written  to  /,  r,  m  and  n,  expresses  the 
double  consonants  C~  Ir,  i/  rl,  e~^  ml  and  o^  «/.     See  lines    8   to 

ij« 

no.  These  are  termed  the  irregular  double  consonants  because 
they  differ  somewhat  from  the  general  rule  for  formation  of  double 
consonants  explained  in  paragraph  76. 

III.  The  initial  hook  is  made  large  in  this  series,  to  distinguish 
it  from  the  small  w  hook  explained  in  paragraph  67. 

H2.  These  signs  are  vocalized  the  same  as  those  of  the  //  and 
pr  series  of  double  consonants. 

See  Copy  Book  Exercise,  p.  129. 


pomp 


C  i  'I 

V~v  lx-v 

p-ii-mp          pl-ii-nip         v-d-mp        th-ii-mp  tr-d-inp 

pump             plump            vamp           ikiinip  trimp 


3    ; 

4 
5 
6 


e-mb-a-r-g-o 
embargo 


u-mr 
Aumor 


L      L     \^ 


and 


k-S-lr  color 

s 


pt-oo-rl  plural 


camel 


t-it-nl  tunnel 


_r    <t_r    -X*    N^  \S 


58  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE  F  OR   V  HOOK. 

113.  forv,  when  following  straight  consonants,  is  expressed  by 
a  small  final  hook :  on  the  right-hand  side  of  upright  and  sloping 
consonants,  and  on  the  upper  side  of  horizontal  strokes.     See  lines 
i  and  2.     The  /or  v  hook  can  not  be  written  to  curved  consonants. 

1 14.  When  precision  is  necessary,  the  /  hook  may  be  thickened 
for  v.     See  lines  4  and  5. 

115.  -The  f  or  v  hook,  when  joined  to  the  upward  r  and  A,  must 
be  written  on  the  upper  side.     See  line  3. 

116.  To  express  a  vowel   after/  or  ?>,  the  stroke  form  must  be 
used  to  give  position  to  the  vowel.    See  line  6. 

117.  The  circle  s  or  z  may  be   added   to  an  f  or  v  hook  by  writ- 
ing it  within  the  hook.      See  line     7. 

118.  The/  or  v  hook  may  be  conveniently  used  in  the  middle  of 
a  word.     See  line  8. 

119.  The  f  or  v  hook     is    read    in    the      same  manner  as  the  n 
hook,  and  the  circle  s  when  it  ends  an  outline,  that  is,  being  al- 
ways read  last. 

DOUBLE-LENGTH   CURVED  SIGNS. 

1 20.  The  frequent  occurrence  of  thr,  tr,  dr,  etc.,  in  the  English 
language,  has  led  to  a  briefer  mode  of  representing  such  sounds, 
other  than   by   the    use   of    the   double    consonants   explained  on 
pages  46  and  48. 

121.  When  a  curved  consonant  is  written  twice  its  usual  length, 
it  expresses  the  addition  of  *)   thr.     See  line  9. 

122.  Doubling  a  curve  also  adds  tr  (see  line  10)  andaV-.  See  line  II. 

123.  Doubling  the  consonant  ing  adds  kr  or.fr.     See  line  12. 

124.  Mp  or  mb  may  be  doubled  to  add  er.     See  line  13. 

125.  Vowels  and  diphthongs  when  written  to  lengthened  curves, 
must  be  read  before  the  added  consonants  thr,  tr,  dr,  etc.  ;  but  when 
a  double-length  curve  ends  with  a  circle  or  n  hook,  the  added  con- 
sonants must  be  read  before  the  circle  or  hook.     See  line  14. 

See  Copy  Book  Exercise,  p.  130. 


X, 

p-u-f 

puff 


L 

ch-d-f 
chaff 


t-u-f 


br-e-f 
brief 


H>         T 


bl-u-f 
bluff 


str-i-f 
strife 


pr-oo-v  prove 


I 


x, 


L 


5£xcvcisc  on  pottblc-lcugth  Cruvuts. 


f-e-thr  feather 


m-d-tr  matter 


•w-ii-n-dr  wonder 


t-i-ing-kr  tinker 

^S        ^^ 
t-e-mp-ers  tempers 


f-i-ing-gr  finger 

^  -^ 

t-i-tnb-er  timber 


60  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE    WA  Y  HOOK. 

126.  The   semi-consonant  w,  following  /,  d,  k  and  g,  coalesces 
with  these  letters  in  a  manner  similar  to  the  liquids  /  and  r  (which 
form  the  double  consonants),  producing  the  sounds  tw,  dw,  kw  and 
gw.     These  sounds  are  represented  by  a  large  initial  hook  written 
on  the  /  hook  side  of  the  consonant,  thus : 

r        r        ^         o_ 

TW  DW  KW  GW 

127.  These  signs  are  vocalized  the  same  as  the  single  and  double 
consonants  (see  paragraphs  31   and  32),  the  vowel  being  read  first 
when  placed  before  the  sign  (see  exercise),  and   last  when   following 
the  sign.     See  lines  I  to  6. 

128.  The  circle  s,  when  preceding  these  signs,  must  be  written 
within  the  hook,  and  vocalized  according  to  the  rule  for  reading  the 
circle  s,  given  in  paragraph  46.     See  line  6. 

129.  The  large  initial  hook,  for  the  expression  of  way,  is  not  con- 
fined to  the  strokes  /,  d,  k  and  g ,  but  may  be  written  to  \  p  and 
\  b,  when  writing  words  of  foreign  origin. 

THE  SHUN  HOOKS. 

130.  The  termination  shun,  zhun,  etc.,  as  heard  in  the  following 
words,  caution,  nation,  fashion,  option,  derision,  vision,   is  expressed 
by  a  large  final  hook,  which  is  generally  written  on  the  most  con- 
venient side  of  straight    letters   (see  line  7),  "but  always  following 
the  direction  of  curved  letters.     See  line  8. 

131.  When  /  or  d,  without  an  initial  appendage  is  followed  by  the 
shun  hook  itshouldbe  written  on  the  right  hand  side  of  the  stroke, 
but  when  the  stroke  takes  an  initial  appendage,  write  the  hook  on 
the  side  opposite  the  appendage  to  avoid  giving  a  curved  appearance 
to  the  outline. 

132.  On  all  other  straight  strokes  without  an  initial  appendage 
the  shun  hook  is  written  on  the  side  opposite  the  accented  vowel  (see 


,    o 

1      Jv  _  bv 

tiv-i-n  tw-i-s 

twine  tic  ice 


3  f      r 

a-M-I  dwell. 


L 


t-v-a-n 
twain 


tu-i-l  f, 

tu>ill  t , 


0n  the  jlhun 


p-a-shun  faaion 


J-a-s^itn 


p-o-s-i-shun 


T 


o-sh-n  ocean 


62  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

line  7),  except  when  the  hook  is  used  in  the  middle  of  a  word, 
where  a  non-observance  of  this  rule  sometimes  secures  a  better  out- 
line. See  line  9,  p.  61. 

133.  The  circle  s  or  z  is  added  to  the  shun  hook  by  writing  it 
within  the  hook.     See  line  lo,  p.  6l. 

134.  Shun  is  also  expressed  by  a  small  hook,  formed  by  continu- 
ing the  line  of  a  circle    (either  s  or  ns)   through  the  stroke.     See 
lines  II  and  12,  p.  61.     This  is  called  the  backward  shun  hook,  and 
is  vocalized  for  a  first  or  second-place  vowel  only,  first-place  vowels 
being  written  before  the  hook,  and  second-place  vowels  after  it. 
See  lines  II  and  12.  p,  61. 

135.  The  backward  shun  hook  may  be  convenienty  used  in  the 
middle  of  a  word.     See  line  12,  p.  6l. 

136.  The  circle  j  or  z  is  added  to  this  hook,  as  in  line  12,  p.  61. 

137.  When  sh  and  n  are  the  only  consonants  in  a  word,  the  letter 
sh  with  the  n  hook  must  be  used.     See  line  13,  p.  6l. 

See  Copy  Book  Exercise,  p.   131. 


LOGOGRAMS. 

138.  Though  the  English  language  contains  many  thousands  of 
words,  it  is  an  established  fact,  that  a  little  more  than  one  hundred 
and  fifty  different  words,  by  being  frequently  repeated,  forms  more 
than  one-half  of  all   that  is  contained   in  a  sermon,  speech,  news- 
paper, or  debate.     Such  being  the  case,  it  has  been  thought  best  to 
give  these  words  abbreviated  forms;  that  is,  to  write  only  zflartof 
their  true  outline,  that  part  being  chosen  which  will  best  represent 
or  suggest  the  full  word. 

139.  In  Phonography  the  most  frequent  words  in  the  language 
are  represented  by  the  single  and  compound  letters  of  the  phono- 
graphic alphabet.     To  write  such  words  as  the,  and,  an,  that,  etc., 
in  full  would  occasion  an  unnecessary  waste  of  time  and  labor,  nor 
would   these  words,   thus  written,  be  more  legible  than  when  ex- 
pressed by  one  simple  and  distinct  character. 

140.  Abbreviating  words  thus  does  not  detract  from  the  philo- 
sophic nature  of  Phonography,  nor  should  the  student,  for  a  moment. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.     63 

suppose  that  he  is  memorizing  arbitrary  signs  for  the  brief  expres- 
sion of  certain  words. 

141.  Abbreviating  words,  for  the  most  part,  is  simply  omitting 
the  vowels,  and  expressing  the  word  by  its  simple  outline,  thus,  (  t 
represents  it,  \  d,  do,  and  *^p,  up. 

142.  If  the  word  tJie  be  pronounced  and  its  sound  continued,  it 
will  flow,  as  it  were,  into   the  sound  e.     This  word,  therefore,  is 
expressed  by  writing  the  vowel  e  (a  heavy  dot)  above  the  line  the 
height  of  the  letter  [,/.     See  next  page. 

143.  Words  so   abbreviated  are  called  grammalogues,  or  sign- 
words,   and   the  shorthand  letters  that  represent  them  are  called 
logograms,  or  word-signs. 


METHOD  OF  PRACTICE. 

144.  The  table  of  logograms  on  the  next  page,  and  those  that 
follow,  should  be  memorized  by  the  student.     This  is  best  done  by 
writing  a  line  of  each  in  the  copy-book  several  times,  pronouncing 
the  word  as  its  outline  is  being  struck.     Associating  the  word  and 
its  outline  in  this  manner  will  soon  lead  the  student  to  strike  the 
abbreviated  form  without  hesitation,  and  to  become  so  familiar  with 
all  words  so  abbreviated   that  it  will  require  no  effort  to  recall  its 
sign. 

145.  While  it  is  of  great  importance  that  the  student  should  be 
able  to  write  the  logograms  correctly,  it  is  of  no  less  importance 
that  he  be  able  to  recognize  them  when  called  upon  to  read  what 
he  has  written.     It  is   therefore  recommended,  that  after  writing 
the  logograms  repeatedly  in   the  copy-book,  as  mentioned  in  the 
above  paragraph,  the  sentences  on   the   page  accompanying  each 
new  table  of  logograms  be  read  and  carefully  copied,  after  which 
they  should  be  transcribed  into  longhand,  and  written  from  another's 
dictation  and  compared  with  the  engraved  exercise.     Should  it  be 
found  to  contain  many  errors,  it  may  be  accepted  as  sufficient  evi- 
dence, that  the  lesson  has  not  been  mastered,  and  he  is  strongly 
advised   to  rewrite  it.     The  time  thus  spent  could  not  be  better 
employed. 


64 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


the.* 
a. 


SIMPLE    LOGOGRAMS. 

N  to.  )  was.  /"will. 

c  we.*  /  which.  ./are. 

:or.  /shall-t. 


.  an  or  and.        is  or  his.*  ^-  i°r- 

v  I.*  o  as  or  has.  (    think.  ^— m* 

v  aye*  (yes).    '  he.*  V.have.  \  up. 

A  how  I  it.  ^-when.*          ( 

«  you.  \be.  —me  or  my.*  /"  well. 

s  of.*  I  do.  _^him.  x    (period). 

146.  The  logograms  in  the  above  table,  and  those  that  follow  are 
written  above  the  line  when  followed  by  an  asterisk  [*]. 

147.  The  two  most  frequent  words  in  the  language  are  the  and  a, 
they  are  therefore  provided  with  the  briefest  possible  forms,  namely, 
a  heavy  dot,  the  being  expressed  by  writing  the  dot  on  the  upper 
line  when  double  lined  paper  is  used,  and  above  the  line  (the  height 
of  |  t),  when  single  line  paper  is  used  ;  a  is  expressed  by  writing  the 
dot  on  the  lower  line. 

148.  When  the  name  of  a  letter  is  the  same  as  the  sound  of  a 
word,  it  is  termed  a  natural  grammalogue,  thus^-s.fo,  v  It  ^you,  etc. 

149.  The  words  and&ndt.  an  are  represented  by  a  small  dot  written 
on  the  lower  line. 

150.  A  distinction  is  made  when  writing  the  logograms  for  /and 
aye  by  making  the  down  stroke  on  the  character  representing  aye 
slightly  shaded.     See  table  above. 

151.  When  great  precision  is  required  the  logograms  is,  as,  may 
be  aspirated  for  his,  has,  by  writing  a  small  dot  before  the  circle. 
See  examples  in  lines    n  and  12, 

152.  The  ordinary  period  being  employed  to  represent  words,  a 
small  cross  is  used  to  represent  this  mark  of  punctuation.     See  Eabia 
above.     See  Copy  Book  Exercise,  p.  132. 


X          I          X 


3  1-*      . 

4  A       C  "V.       ">,      S 

5±1_._C_...  I       XI,    _1 

7lT  >               I 


fj    ^ 

f\  —  '  c/ 

X        I        o        n        _x  .     V     __  . 

I 

f  r    r-  v. 


c-  _L  r 


>  r  c 


^  \   r 


C 


r  x 

I  x 


13. 


v 


66  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


VOWEL  LOGOGRAMS. 


all*  too- two        already*         before          ought*  who 

x  I  /       - 

X  1  / 

of*  to  or*  but  on*  should 

153.  By  writing  the  stroke  vowels  aw,  o,  oo,  in  each  of  the  direc- 
tions as  shown  in  the  above  table,  six  distinct  characters  can  be 
obtained,  which  are  used  to  represent  the  words  all,  too-two,  already, 
before,  ought,  -who.     On  pronouncing  these  words  carefully  it  will  be 
noticed    that   all  contain   broad,  open,  sounds,  for  this  reason  the 
signs  used  to  represent  them  are  slightly  shaded. 

154.  By  making  the  same  characters  light,  provision  is  made  for 
another  set  of  very  frequently  occurring  words ;  namely,  of,  to,  or,  but, 
on,  should.     It  will  be  noticed  in  these  words  that  the  vowel  has  a 
more  acute  accent  than  those  mentioned  in  the  above  paragraph, 
for  this  reason  their  signs  are  made  light. 

I55-  When  writing  the  vowel  logograms  on  double  lined  paper 
(which  is  recommended),  those  in  the  first  position  should  just  touch 
the  upper  line,  and  those  in  the  second  position  should  rest  upon 
the  lower  line.  See  table  above.  When  single  line  paper  is  used, 
those  in  the  second  position  should  rest  upon  the  line,  and  those  in 
the  first  position  should  be  written  above  the  line  the  height  of  the 
letter)  t. 

156.  The  logograms  in  the  above  tables  are  all    struck    down, 
except  on  and  should,  which  are  invariably  written  upward  in  the 
direction  of^r,   to  avoid  making   the  stroke  heavy,   and    to    dis- 
tinguish them  from  the  logogram   'he,  which  is  invariably  struck 
down,  in  the  direction  of  ch.     See  table,  p.  64. 

157.  The  vowel' logograms  can  be  easily  committed  to  memory, 
by  repeating  them  in  the  order  in  which  they  are  presented  in  the 
above  paragraphs,  writing  each  as  its  name  is  pronounced  in  the 
Copy  Book.     See  Copy  Book  Exercise,  p.  133. 


x  _L  5 


I  I   .  (• 
r  ^-\ 


n         / 


8  ^__  \ i_  .f 

9  (•    (_!_/.!_ 

10    A  '  \  \  / 


i  )-  r> 


c-  / 


c  r 


12    Vit 


V 

13 / 


L  x  \  \  >/ 

^  c-  v± 


68  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


W  AND  Y  LOGOGRAMS. 

e  e  » 

c  » 

we*  with*  were  what*          would 

ye*  yet  beyond*          you 

^         r        c         / 

way  your  well  where 

f  when* 

<5_x   J. 

(.one 

158.  By  the  position  of  a  logogram,  is  meant  the  place  it  occupies 
with  reference  to  the  line  of  writing,  whether  on  or  above  it.  In 
the  Corresponding  Style  of  Phonography  there  are  but  two  positions, 
namely,  above  the  line,  or  first  position,  and  on  the  line,  or  second 
position.  When  using  double-ruled  paper,  the  upper  line  is  the  first 
position.  In  the  above  table,  we,  -with,  what,  ye,  and  beyond  are  in 
the  first  position,  and  -were,  would,  yet,  and  you  in  the  second  position. 

I59-  We  and  with,  having  the  same  sign,  a  distinction  is  made,  by 
making  that  for  we  slightly  shaded  to  indicate  its  broad  or  open 
sound,  and  writing  the  sign  for  with  light  because  of  its  light  or 
brief  sound.  The  signs  for  ye  and  you  are  also  shaded. 

160.  With  the  exception  of  we,  ye,  and  you.     The  stroke  forms 
~"^  w  and  f  y,  should  be  employed  when  writing  words  that  contain 
only  vowels  in  addition  to  these  letters.  The  stroke  "^  w  should  also 
be  used  in  all  words  where  w  is  preceded  by  a  vowel  as  in  away, 
awakt,  await,  etc.,  and  when  writing  words  where  w  is  preceded  or 
followed  by  the  s  or  z  sound,  as  in  sway,  swab,  wise. 

161.  When  two  words,  joined  by  a  brace,  are  placed  to  one  sign, 
as  when,  one,  in  the  above  table,  it  signifies  that  the  word  in  the 
upper  line  is  represented  by  writing  the  sign  in  the  first  position, 
and  the  word  in  the  second  line  by  writing  the  sign  in  the  second 
position.     See  Exercise  on  the  opposite  page. 

See  Copy  Book  Exercise,  p.  133. 


r  ->  .     _  A  ~\ 


...  (•   X  A  V. 


8 


r 


9*1  D  N  r 

ioi_r  xi   ^ 

CL^      c       i  I  c 

ii v_     U,v  _ 

12  I      6  <^ - 

13^-1        _,        \-L 
(.  c 

14  \  s-?^  __       A        . 


c    C  _ 


r 


70  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

SIMPLE   STROKE   LOGOGRAMS. 
\  up  \  be  it  |    do 

/  which        /   advantage    /"  will  /  are 

Vfor  V_have  (    think  (    them 

)   so  )   was  .y  shall-t          J  usual-ly 

f  kingdom,  common*  /  give-n* 

~  \  come  \  together,  go 

(  me  or  my*  f  in  or  any*  f  thing* 

""^  i  him  or  may       ^  \  no  or  know      *""'  \  language 

162.  When  a  sign  has  a  word  printed  opposite  it  with  more  than 
one  termination  joined  by  a  hyphen  as  shall-t,  usual-ly,  give-n,  or 
two  words  joined  by  the  word  or  as,  me  or  my,  in  or  any  (see  table 
above),  the  same  sign  is  used  to  represent  them.    There  is  no  danger 
of  such  words  clashing,  as  the  context  always  determines  which  word 
is  intended. 

163.  The  position  of  a  horizontal  logogram,  whether  on  or  above 
the  line  is  usually  determined  by  the  accented  vowel  of  the  word  it 
represents.     The  logogram  being  written  in  the  first  position  for 
words  containing  first-place  vowels  as,  me,  my,  etc.,  and  in  the  sec- 
ond position  for  those  containing  second-place  vowels  as  may,  nv, 
go,  etc. 

164.  Though  the  words  any  and  no  contain  second-place  vowels, 
being  of  opposite  meaning,  a  distinction  is  made  by  writing   the 
sign  in  the  first  position  for  any,  and  in  the  second  position  for  no. 
See  table  above. 

165.  Logograms  which  fill  the  whole  line  of  writing,  as    \«/, 
\  be,  etc,  are  only  written  in  the  second  position. 

166.  The  circle  s  or  z  may  be  added  to  a  logogram,  to  form  the 
plural  number  of  a  noun ;    as,  ^,  language,  ~^P  languages,   or  the 
third  person  singular  of  a  verb  in  the  present  tense ;  as,  (,     think, 
(,  thinks,  or  the  possessive  case ;  as,  |  it,  (,  its. 

See  Copy  Book  Exercise,  p.  134. 


/     V       n 


r  \   x    r  /   v  n   Y_ 


_  .../..    1..I     ^      ( 


..  (  c  £,  r  \:L./ 


.1  .  u,  c  r  x  i  i  c 


\_l_/x 


72  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


LOOPS  ST  AND  STJ?. 

167.  The  sound  st,  as  heard  in  the  words  past,  po  st,  boa  st,  etc., 
is  expressed  by  a  loop  written  on  the  right  hand  side  of  upright  and 
sloping  strokes  (see  line  I),  and  on  the  upper  side  of  upward  r,  A 
and  horizontal  strokes.     See  line  2. 

168.  After  curves  the  loop  st  follows  the  direction  of  the  curve. 
See  line  3. 

169.  The  loop  st  is  read  the  same  as  the  circle  s.    See  paragraphs 
46  and  47. 

170.  The  loop  st  may  be  written  to  any  consonant  stroke,  with  or 
•without  an  initial  appendage.     See  line  4. 

171.  After  C  I,  /  r,  ^-n,  and  ^  h,  ad  is  expressed  by  shading 
the  down  stroke  of  the  loop.     See  line  5. 

172.  When  used  initially,  the  loop  st  is  written  as  in  line  6.   and 
vocalized  as  for  the  circle  s. 

173.  The  loop  st  may  be  used  before  the  straight  letters  of  the  pr 
series  of  double  consonants  to  write  such  words  as  steeper,  stutter, 
stagger.     See  line  7- 

174.  By  continuing  the  «  hook  on  straight  letters  into  a  loop,  nst 
is  expressed,  as  heard  in  pranced,  entranced,  and.  glanced.   See  line  8. 

175.  The  circle  s  when  following  the  loop  st  is  written  as  in  line  9. 

176.  When  convenient,  the  loop  st  may  also  be  used  in  the  mid- 
dle of  an  outline.     See  line  10. 

177-  A  loop  made  twice  the  size  of  the  loop  st,  expresses  sir,  as 
heard  in  pla ster,  po  ster,  bli  ster,  and  may  be  written  on  both  straight 
and  curved  consonants.  See  line  n. 

178.  By  writing  the  loop  sir  on  the  n  hook  side  of  straight  conso- 
nants the  sound  nstr  is  expressed,  as  heard  in  spinster,  punster,  etc. 
See  line  12.     The  loop  nstr  can  not  be  used  on  curved  consonants. 

179.  The  circle  s  when  following  the  loop    str  or  nstr  is  written 
the  same  as  when  following  the  loop  st.     See  lines   12  and  13, 

180.  The  loop  str  may  be  used  initially,  or  in  the  middle  of  an 
outline.     See  line  14. 

See  Copy  Book  Exercise,  p.  134, 


lEzcrcisc  on  goops  jst  anil 


1  NT 

p-a-st 
fast 

2  /\ 


p-o-st 
posi 


b-o-st 
boast.- 


t-a-st 
taste 


b-e-st 
beast 


V 


tr-u-st 
trust 


kr-i-s-t-a-l-i-zd 
.crystallized 

-^ 
st-e-p 


st-e-pr 
steeper 

\y 

pr-a-nst 
pranced 


,, 

a-r-l-i-st-i-k 
artistic 


^ 

pl-a-str 
Blaster 

b  > 

s-p-i-n$tr  spinster 


H 


p-o-slr-s  posters 

I 

str-i-ng  string 


f         Tr 


JT 


e 


s-p-i-nstr-s  spinsters 


e 
I 


74  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


INITIAL    HOOK    LOGOGRAMS. 

%  principal-le-ly     \  /  member  p        tdl   tm 

(,  remember-ed 

1    truth  1        dear  ^  { SLlt-y 

^-care  V.     full-y  °\      from 

^  every,  very  5       three  5       their,  there 

n  a        ,  f  Mr.,  remark* 

J'sure  J      Pleasure  ^{more 

^_,     near,  nor* 

181.  The  characters  of  the//  and pr  series  of  double  consonants, 
and  other  strokes  written  with  an  initial  hook,  are  used  as  logograms, 
forming  what  is  termed  The  Initial  Hook    Series  of   Logograms. 
See  table  above. 

182.  The  horizontal  strokes  of   this  series,   are  written   in  two 
positions  on  and  above  the  line,  according  to  the  words  they  repre- 
sent.    See  paragraphs  158  and  163. 

183.  The  student  will  find  it  very  profitable  when  studying  these 
logograms,  to  pronounce  the  character  and  then  the  word  it  repre- 
sents, the  close  relationship  existing  between  the  two,  being  so  pro- 
nounced that  many  by  repeating  them  twice,  will  have  them  com- 
mitted to  memory. 

184.  When  the  same  logogram  is  used  to  represent  the  present 
and  past  tense  of  a  verb,  as  remember,  remembered,  or  an  adjective 
and  adverb,  as  full,  fully,  they  are  such  words  as  will  not  conflict  in 
meaning.     See  table  above. 

185.  It  is  not  necessary  for  the  student  who  finds  it  a  task,  to 
memorize  all  the  logograms  as  they  are  presented,  though  of  course 
it  is  better  to  do  so.    Those  who  experience  this  difficulty  may  grad- 
ually adopt  such  of  them  as  they  feel  the  need,  and  can  conven- 
iently remember. 

186.  The  circle  s  or  z  may  be  added  to  the  Initial  Hook  Logo- 
grams as  explained  in  paragraph,  166. 

See  Copy  Book  Exercise,  p.   135. 


J 


v 


I     s-      - 
II f 

v       r  _ 
12 3        n 

^A 


p . 

X 


•     n      ^- 
I     r 


14 


76  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

THE  HALVING  PRINCIPLE. 

187.  By  halving  any  of  the  single,  double,  or  treble  consonants 
(except  those  in  paragraph  188)  with  or  without  a  final  appendage, 
t  or  d  is  added,  according  as  the  stroke  is  light  or  heavy,  /  being 
generally  added  when  the  stroke  is  light.     See  line  I  and  d  when 
the  stroke  is  heavy.     See  line  2. 

188.  The  strokes  -^s  ng,  ~^\w,   f ~y,  a.r\o./^mp  are  never  halved. 
Mp  may  be  halved  when  final   hook  is  used— impend,  impound,  impugned. 

189.  A  vowel  written  before  a  half-length  stroke  is  read  before 
the  consonant,  and  added  t  or  d.    See  line  3.    A  vowel  written  after 
a  half-length  stroke  is  read  next  to  the  primary  single,  double,  or 
treble  letter  but  before  the  added  /  or  d.     See  line  3. 

190.  When  a  half-length  stroke  terminates  with  an  n,forv  or 
shun  hook,  the  added  d  is  expressed  by  shading  the  hook.    See  line  4- 

191.  The  circle  s  or  z  written  to  half-length  strokes,  is  read  after 
the  added  t  or  d  and  in  accordance  with  the  rule  for  circle  s. 

192.  A  distinction  is  made  between  the  strokes  -^  nt,  ~^  rt,  C  It, 
and  —  mt,  and  those  taking  the  added  d,  by  giving  the  latter  shaded 
forms  thus,  ^  nd,  ">  rd,  f  id,  and  ^  md.     See  line  5- 

193.  The  stroke    C  It  when  standing  alone  is  written  upward,  but 
when  used  in  the  middle  of  a  word  may  be  struck  either  upward  or 
downward   being  vocalized    from  the  point  at  which  it  is  struck. 
~>   rd  and    r  Id  are  always  struck    downward.    See  line  6. 

194.  A  half-length  j  is   generally  struck    downward,  but  when 
more  convenient  it  may  be  struck  upward.     See  line  7. 

195.  Strokes  written  with  the   initial  w  or  final  /,  v,  n,  or  shun 
hooks  may  be  halved  for  either  t  or  d.     See  line  8. 

196.  When  the  present  tense  ends  with  a  full-length  stroke,  halve 
it  to  form  the  past  tense,  but  when  the  present  tense  ends  with  a 
half-length  stroke,  add  a  full-length  d  to  form  the  past    tense,  and 
when  it  will  not  form  an  angle,  disjoin  it.     See  line  9. 

197.  When  writing  such  words  as  liked,  kicked,  mapped,  etc.,  the 
full-length  t  or  d  should  be  used  to  form  the  past  tense.  See  line  IO. 

198.  When  t  is  the  last  consonant  in  a  word,  and  forms  no  angle 
with  the  one  preceding  it ;    the  past    tense   is    formed   by  a  half- 
length  /  disjoined.     See  line  II. 

199.  The  advanced  writer  may  use  the  halving  principle  to  ex- 
press either  t  or  d.     See  line  1 2-     See  Copy  Book  Exercise,  p.  136. 


piK-t  puked,  trdk-t  tracked,  bak-t  baked 


-7^7    ^_!^_  n 

kaj-d  caged  plag-d  plagued  f 


ben-d  bend 


kaj 

3-^-5- 


riib-d  rubbed      beg-d  begged 


\         _ 

pat-pat 


r 


>«'-/  night 

CL     \-^^ 

pel-t-ng  pelting 


read 


V 


lenes-t  leanest 

8  .C         r 


II  l-l     ^1 

da-ted  dated 


1 


•&!     xr- 


12 


bu-t-ifiil  beautiful,, 


13 


-14 


ren-t  rent 


nam-d  named 


78  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


FINAL   HOOK   LOGOGRAMS. 

The  N  Hook. 
%  open,  upon      %  been  (    than,  then 

— =,can  _,  again,  gain       j    ten 

/'alone  J   done  ^*  Phonography 

/  general-ly 

^_^  f  men*     __^  f  opinion* 
\  man  \  known 

The  F  and   V  Hook. 
**""*  above         u  whatever          I  differ-ed-ence-ent         — =  gave 

The  Shun  Hook. 
x^ objection  ^  generation  —occasion 

S. 

^  ^nation,  notion       o  subjection 
-—^motion 

200.  The  upward  r,  when  standing  alone  is  never  halved,  except 
when  written  with  an  initial  or  final  appendage.     See  line  13,  p.  77. 

201.  As  a  rule  the  halving  principle  should  never  be  used,  unless 
the  stroke  halved  makes  a  distinct  angle  with  the  stroke  preceding 
it,  but  when  a  light  stroke  is  written  to  a  half-length  heavy  curve, 
a  non-observance  of  this  rule  sometimes  secures  a  more  convenient 
tmtline.     See  line  14,  p.  77. 

202.  The  final  hook  logograms  are  all  written  in  accordance  with 
the  rules  explained  in  paragraphs  163  and  165. 

203.  Writing  words  in  position  should  not  be  confined  simply  to 
logograms,  but  should  be  observed  when  writing  words  whose  out- 
lines do  not  fill  the  whole  line  of  writing.    Outlines  containing  first- 
place  vowels,  as  king  antiknock'    being  written  in  the  first  position, 
and  those  containing  second  and  third-place  vowels  being  written  in 
the  second  po'ition. 

204.  The  circle  s  or  z  may  be  written  to  any  of  the  final  hook 
logograms.     See  lines  i  and  8. 

See  Copy  Book  Exercise,  p.  138. 


\ 


N          S^ 


^L    /     \     V     ^    1 


,x  p  c 

O I          V 


5 

6  "_ 

7c  / 

g-o  -   ; 


^> 

).. 


3    \ 


1°    » 


y  N  J 


9 A 


_:  N, 

.  v, 


-/°     V 


f, 


/— 3, 


°\  ^...__:......^-   ^ 

.  i...:_..x  r  _ 

(  °  i  ^/ 

(T\     V    - J          <^f> 

,  A  I    ^     r. 


i 


s~* 


ijL  \j>  ./)  'r  ±±_  S 

<^x     -o      /-       o         /i       •      i 
14 /        /I? v 


r  \  -p 


80  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


HALF-LENGTH    LOGOGRAMS. 

«s  particular-ly*  -      j  light* 

I        (let,  late 

«\  opportunity,  part       f    child*  e_  glad  ->      J Lord-  read* 

(word 

^spirit*  f      |£±S2*       ^eat  ™ld 

^'Iboir  -could  V.  after 

».       (brought*  (called*  v.     jfind*  ,  immediate-ly* 

'      (bread  ^    jcold  *     I***  "-     jmade 

^      (behind*  laccord-ing-ly*  \_  vote  **   mind* 

) bent,  bend  •"'   {cared 

_  i    thought* 

f    told  c-~  l  .      }not* 

qu"e*  |nature 

1    toward,  trade  -,     |  account  *       I 'without      —' went,  wont 

I     did*  J  God*  j   short* 

1(1  -     I  good  +  •"  under 

205.  The  strokes  formed  by  the  halving  principle,  afford  abund- 
ant material  for  the  representation  of  a  large  class  of  words  con- 
taining  but  one  vowel,  and    terminating  with  t  or  d  as   thought, 
brought,  quite,  great,  build,  cold,  etc.    See  Table  above. 

206.  The   half-length   strokes  are  also  used    to  represent  words 
containing  more  than  one  vowel  or  consonant,  when  the  name  of 
its  outline  readily  suggests  the  word,  as/rt1  represents  particular  or 
particularly.     In  the  following  sentences:  I  am  very  prt  about  such 
things  would  be  readily  understood  I  am  very  particular  about  such 
things,  and,  1  prt  dislike  him  to  be  /  particularly  dislike  him.     The 
context  in  every  case  will  determine  the  exact  word.     See  exercise 
opposite  page. 

207.  It  will  be  seen  by  referring  to  the  table  above,  that  upright 
and  sloping  logograms  are  written  in  position  as  well  as  horizontals. 
This  can  be  done  only  with  the  half-length  strokes  as  their  outlines 
do  not  fill  the  whole  depth  of  the  line  of  writing. 

208.  The  word  read;  present  tense  of  the  verb,  is  written  with 
the  half-length  shaded  r  (see  table  above),  and  the  past  tense  and 
participle  with  the  upward  r  and  stroke  d,  vocalized. 

See  Copy  Book  Exercise,  p.   139. 


0trthe  |fctIMengtft  gogogjrams 


7°x 


e  •  < 


4 

v 

5  _ 

6  C_ 

7^ 


P     (     ±L 

(  JL.^ 

.^^ 

\ 


r    . 

CN.       x 


V 


L  r 


y 


r 


r  .  o/ 


•         *v    c   i 

X"      N V- 


II 


12 


n       —      \ 


"S    x  _^   /  C  . 

.     P       n       ^       J        ) 


i  r 


'     />      C       / 


r 


82  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


SPECIAL   VOCALIZATION. 

209.  For  convenience  in  writing,  as  well  as  to  secure  graceful 
outlines  and  greater  speed,  the  double  consonants  (especially  those 
of  the  //  and  pr  series)  are  intervocalized,  by  expressing  the  vowel 
between  the  stem,  and  the  /  or  r  expressed  by  the  hook,  for  such 
words  as  dear,  cheer,  dark,  etc.    This  is  effected  in  the  following  way : 

210.  To  express  dot  vowels  when  long,  write  a  small  circle  before 
the  stroke,  in  the  same  position  which  the  simple  vowel  would  occupy, 
and  when  the  vowel  is  short,  write  the  circle  after  the  stroke  in  the 
same  manner.     See  lines  I  and  2. 

211.  When,  however,  the  position  of  the  consonant  signs  render 
it  inconvenient  to  observe  the  above  rule,  the  circle  may  be  written 
on  either  side  to  express  a  long  or  short  vowel. 

212.  Dash  vowels   and   diphthongs,    both   long   and   short,  are 
struck  through  the  stroke,  except  when  a  first  or  third  place  stroke 
vowel  would  interfere  with  an  initial  or  final  circle  or  hook,  in  which 
case  the  first  place  vowel  must  be  placed  just  at  the  beginning,  and 
the  third  place  vowel  at  the  end  of  the  stroke.     See  lines  3  to  8. 

213.  As  the  large  circle  ss  is  understood  to  represent  a  syllable 
containing  the  vowels  e,  u,  or  i,  thus,  ses,  sus,  or  sis,  it  may  be 
suggestively  vocalized  to  express  a  vowel  or  diphthong.     See  line  9. 

214.  THE  DISSYLLABIC  DIPHTHONGS. — The  following  words,  being, 
clayey,  etc.,  contain  diphthongs  dissimilar  to  those  provided  for  by 
the  scale  on  page  42.     They  are  called  dissyllabic  diphthongs  (see 
line  10),  and  are  given  an  additional  scale,  as  follows : 

1         H         J         1         >1         >!          «! 

6-1  a-I  ah-I  aw-i  o-I  So-I  6-8 

being  clayey      hurrahing  gnawing        stoic          Louis          Owen 

215.  First  and  third  place  diphthongs  and  coalescents,  may  be 
conveniently  joined  to  consonants.     See  lines  n  to  14* 

216.  For  convenience  in  writing  the  word  now,  the  last  stroke  of 
the  diphthong  ow  is  joined  to  the  n  stroke,  and  in  writing  the  word 
new  the  diphthong  u  is  slightly  inclined.       See  fourth  and    fifth 
words;  line  14. 

See  Copy  Book  Exercise,  p.  140. 


,  1         N, 

d-e-r  dear 

a     K  « 

t-e-rm  term 


/ 


t_ 


t-v-rment  torment 


5         k 

n-o-rth  north 


h 


m-e-r  mere 


sA-J-rt  short 


d-ng-k-o-r  anchor 


s-u-stan  sustain 


10 


b-e-i-ng  being 
II      U^  /V 


12 


13 


item 


bough 


V\ 


C 
5 


i-s  ice 

14    CXs-A  ^Vk  Xc 

pr-ow  pro~M 


I  I         ^ 

"^^         V.  > 

Nart  / 


I       ^         ^ 
y"        V 


84  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

PREFIXES. 

217.  The  Prefixes  com-  and  con-,  as  heard  in  complain,  comprise,  com- 
pose, console,  concave,  etc.,  are  expressed  by  writing  a  simtll  dot 
near  the  beginning  of  an  outline.     See  line    I 

218.  When  com-,  con-,  or  cog-  occurs  in  the  middle  of  a  word,  it  is 
expressed  by  omitting  the  outline  for  that  syllable,  disjoining  the 
outline  where  it  occurs,  and  writing  the  remainder  of  the  word  close 
to,  and,  if  convenient,  a  •little  below  the  commencing  syllable,  which 
need  not  be  vocalized.     See  line  2. 

219.  When  cog-  is  used  initially,  as  in  the  words  cogna.ie,  cogniz- 
able, etc.,  it  is  expressed  with  k,  g. 

220.  Magna-,  magne-,  or  magni-  is  expressed  by  writing  the  stroke 
m  partially  over  the  remainder  of  the  outline.     See  line  3. 

221.  A  half  length  stroke  n  written    near  the  following  letter, 
expresses  inter-,  intro-,  or  enter.     See  line  4. 

222.  A  small   disjoined    tick  written  near  the   beginning  of  an 
outline,  expresses  contra-,  contri-,  contra-,  or  counter-.     See  line  5. 

223.  In-,  en-,  or  un-  is  expressed  by  a  small  backward  hook  when 
preced:~:*  tne  treble  consonants  of  the  spr  series,  or  s  followed  by  a 
curved  stroke.     See  line  6. 

224.  Circum-,  or  self-  is  expressed  by  a  small  circle  written  near 
the  center  of  a  stroke.     See  lines  y  and  8. 

AFFIXES. 

225.  'Ing  as  an  affix  should  be  expressed  by  the  stroke  ^^ ,  but 
when  more  convenient,  express  it  by  a  small  dot.     See  line  9. 

226.  -Ings  is  expressed  by  a  disjoined  circle  s  written  near  the  end 
of  an  outline,  and  -ing  the  by  a  small  slanting  tick  written  in  the 
same  position.     See  line  10. 

227.  -Self  as  an  affix  is  expressed  by  a  small  circle,  and  -stives  by 
a  large  circle.    See  line  1 1. 

228.  The  termination  -ly  is  generally  disjoined  when  following 
final  hooks.     See  line  12. 

229.  Any  consonant  when  disjoined  from  that  which  precedes  it, 
expresses  the  addition  of  -lify,  or  -rity,  together  with  the  vow<  1  pre- 
ceding the  /  or  r.     See  line  13. 

230.  -Ship  is  expressed  by  a  disjoined  sh.     See  line  14. 


1  r        -q      'QX,--    t 

J'          I  ^ 


corn-plan  complain 


con-tan  contain 


r-com-end  recommend 

T  ^ 

iHugni-tud    magnitude 

Intcr-vu  interview    \ 

I  v  'v  3 

contrd-aikt  contradict 


r-cog-niz  recognize 


enter-tan  entertain 


*\  ^i 

)   counter-nu 


un  countermine 


in-scrib  inscribe 

o  o 

>V  °I 

°>^_  d- 

circum-spekt  circumspect 

^     jJ 

selj-estem  selfesteem 


tj.  rs 

en-slav  enslave  iin-salabl 
°  ^unsalable, 


-r 

vj 


\- 

hunt-ng  hunting     mak-ng  making 

s\    i   r  /  ^-*.  ^  L/  L,   ^ 

rit-ngs  writings  hdv-ng-the 

your-seif  yourself  your-seivr  yourselves 

Jrend-Iy  frie-iJlyf  ^~  f~ 


- 


i  nstrument-ality 


86 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


IRREGULAR  LOGOGRAMS. 


object 


^^  (  important-ce* 

\  improve-d-ment 
O-only 

/""~    letter         ^_ 


0  first 

--ta  most,  must 
/  just 
C  this 

f  neither* 
\  another 


C  yours 
J  theirs 
i  its 

t>J  pleasure 
— N    matter 


231.  An  examination  of  the  above  table  of  logograms,  will  show 
that  they  differ  very  widely  in  their  formation.     For  this  reason 
they  are  termed  the  Irregular  Logograms. 

232.  The  small  tick  joined  to  b,  forming  the  logogram  for  object, 
is  the  first-place  light  dash  vowel  sign.     See  table  above. 

233.  The  logogram  forjirsf,  should  not  be  mistaken  for  a  circle. 
It  is  an  oval,  slanting   in  the  direction  of  ch,  and  made  half  the 
length  of  a  stroke.     See  table  above. 

234.  Double-length  /,   used  as  the  logogram  for  letter,  is  struck 
upward,  being  commenced  on  the  line  of  writing. 

235.  A  logogram  representing  a  primitive  word  is  generally  used 
to  represent  one  or  more  of  its  derivatives,  as  important-ce,  improve-d- 
ment.     This  can  be  done  with  perfect  safety,  as  the  context  always 
determines  which  word  is  intended. 

236.  The  above  table  of  logograms  and  those  already  given,  are 
designed    pi'incipally  for  convenience  and  speed ;    it  is,  therefore, 
strongly  recommended  that  the  entire  list  be  memorized  as  speedily 
as  possible.     The  student  is  especially  cautioned  against  writing  the 
grammalogues.  with  their  full  outlines;  it  occasions  waste  of  time, 
and  if  persisted  in  will  become  a  fixed  habit,  which  may  be  difficult 
to  overcome  ;  after  thoroughly  committing  their  abbreviated  forms, 
it  will  be  easy  for  him  to  write  the  full  outline  if  desired.     See  Copy 
Book  Exercise,  page  142. 


L    ->* 


\(] 
_y 


VD         /,      V. 


L  J.  ^  ) 


\ 

*  / 


'I 

6 


8  !±_1    ^  l^      x  I    1....,      T  x      I       \ 

*  s-\      \^/               i      o               i 

9  ..._.   0       .        s^z>     _  \       I    - s       I      s(\ 

/-A  f    S 

JQ                              /                             ,/V  /                                    V               I_                    ^ 

/    -P    •  ^     /  ^*-s    M     v  ^  /5    \/— 

12  , I ^^  )        t \~.  I       (/ 


88  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


THE  TICKS. 

237.  THE. —  The  being  the  most  frequently  occurring  word  in  the 
English    language,    it    has   been    found    necessary    to    provide    an 
additional  sign  to  represent  it,  other  than  the  dot  form  given  in 
paragraph  147.     The  best,  because  the  most  convenient  for  joining, 
is  a  small  tick  written  to  the  preceding  word,  and  struck  .down,  in  the 
direction  of  ch,  or  up,  in  the  direction  of  upward  r.     See  lines 
I  and  2, 

238.  A,  AN,  or  AND  are  also  provided  with  additional  forms  con- 
venient for  joining,  namely,  a  small  tick,  always  struck  either  in  a 
vertical  or  horizontal  direction,  and  used  at  the  beginning  or  end  of 
a  word.     See  line    3 

239.  The  phrase  and  he,  should  be  written  above  the  line,  and,  and 
the  on  the  line. 

240.  The  ticks  for  the,  a,  an,  or  and  never  stand  alone. 

OMITTED   CONSONANTS,  ETC. 

241.  The  consonant  k,  when  occurring  between  ng  and  sh,  or  ng 
and  t,  may  be  omitted,  as  also  /,  when  occurring  between  m  and  /. 
See  line  4. 

242.  The  consonant  /,  occurring  between  j  and  another  consonant, 
may  often  be  omitted  without  fear  of  illegibility.     See  line  4. 

243.  Two   VOWELS   CONCURRING. — In   words  where  tivo  vowels 
occur  either  before  or  after  a  consonant,  the  vowel  that  is  heard 
nearest  the  consonant  should  be  written  nearest  to  it.     And  when 
two  vowels  occur  between  two  consonants,  one  should  be  placed  to 
each.     See  line  5. 

244.  Verbs  ending  with  the  0  sound,  form  their  past  tense  with  the 
circle  z  and  stroke  </when  the  loop  can  not  be  shaded.     See  line  6. 

245.  In  a  compound  word  where  a  grammalogue  forms  a  part  of 
the  word,  as  in  to-morrow,  to-day,  ^/-mighty,  etc.,  its  logogram  may 
be  joined  to  the  rest  of  the  outline.     See  line  7.     And  when  the 
word    is    composed    01     two    grammaiogues   as    in   there-fore,    no- 
where, some-how,  the  two  logograms  may  be  joined.     See  lines    8. 
and  II.     (Continued  on  p.  90.) 


in-tke 


ay-the 


*s 


when-a       and-when 


/ 

V 


4    ^  >          «C? 

distinction  / 

s  -I.        T.       IX- 


pleased 

7  ^X     _y 

to-morrow 

8  6/L 

wherefore 


10 


i     x     k 

^\          p"1 


*    4 

-.rs 


) 


i        .f         T 


±£.    J- 
4. 


11  x  fy  Period  ,[  Exclamation     ;    Interrogation    <^     Laughter   <3     Cheers 

y  '     * 

12  |     Grief  =       Hyphen       •##"     Capital        .^^a.     ^^       ,-        Dash 


13      .    Comma  •,      Semicolon        *     Colon 


Quotations 


14    ±      iParenthesis    if    Paragraph     ^    Asterisk      LJ.. Brackets    A     Care 


90  PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

246.  The  general  rule  to  be  observed  when  writing  such  words,  is  to 
write  the  first  logogram  in  the  position  it  would  occupy  when  stand- 
ing alone,  and  to  let  the  other  accommodate  itself  to  the  first. 

247.  Figures  are  best  written  in  the  usual  way ;  namely,  I,  2,  3, 
etc.,  but  the  words  may  be  expressed  singly  as  in  line   9,  p.  89. 

NOMINAL   CONSONANT. 

248.  When  it   is  necessary  to   express  one   or  more  vowels  or 
diphthongs  without  a  consonant  for  initials,  as,  E.  Jones,  A.  Brown, 
I.  Clarke,  or  for  the  words  ah!,  oh!,  a-we,  owe,  etc.,  it  is  effected,  by 
writing  the  dot  vowels  and  diphthongs  to  the  letter  |  t  with  a  small 
slanting  tick  joined  to  the  stroke,  which  deprives  it  of  its  value  as  a 
consonant,  yet  serves  to  indicate  the  position — therefore  the  name 
of  the   vowel  placed   to  it.      Dash  vowels  are  best  expressed  by 
striking  them  through  the  stroke,  and  omitting  the  tick.     See  line 
13,  p.  89. 

PUNCTUATION,  ETC. 

249.  While  it  is  of  great  importance  that  one  should  properly 
punctuate  that  which  he  has  written,  it  is  by  no  means  necessary 
that  the  writer  should  indicate  all  the  minor  pauses  when  taking  a 
rapid  report.     It  is,  however,  important  that  the  full  stops  be  in- 
dicated by  an  appropriate  sign,  in  order  to  convey  to  the  writer  a 
clearer  conception  of  his  notes  when  transcribing  them. 

250.  THE  PERIOD  is  indicated  by  a  small  cross,  or  a  stroke  made 
double  the  length  of  ch.     See  line  14,  p.  89. 

251.  THE   PARENTHESIS  should    have  a  single  or  double    line 
struck  through  them,  to  avoid  mistaking  them  for  the  stems  th  and 
s.     See  line  16,  p.  89. 

252.  Proper  names,  and  words  commenced  with  a  capital  are  in- 
dicated by  underscoring  them  with  two  short  parallel  lines. 

253.  A  word  intended  to  be  emphasized,  should  be  underscored 
with  a  waved  line,     And  more  than  one  word  by  a  straight  line. 

254.  Initials  of  titles,  as  LL.D.,  M.D.,  A.M.,   M.A.,   etc.,  are 
best  written  with  the  longhand  letters.     The  other  marks  of  punc- 
tuation given  in  lines  14  to  17,  p.  89,  are  self-explanatory. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.          91 


CONSONANT  OUTLINES. 

255.  The  major  portion  of  the  letters  in  the  phonographic  alpha- 
bet being  represented  in  more  than  one  way,  namely,  by  the  circle, 
hooks,  dot,  shading,  etc.,  as  well  as  writing  others  either  upward 
or  downward,  it  often  becomes  a  matter  of  conjecture  to  the  student, 
as  to  which  outline  will  best  represent  a  word,  or  be  the  most  ex- 
peditiously  written.     The  following  suggestions,  it  is  believed,  will 
be  found  useful  in  assisting  the  writer  to  determine  the  best  outlines 
for  words. 

256.  The  general  rule  to  be  observed,  when  writing  an  outline,  is 
to  choose  that  form  which  is  most  easily  and  rapidly  written,  and 
which  admits  of  clearest  vocalizing. 

257.  In  applying  the  above  rule,  the  student  should  not  let  his  eye 
deceive  his  hand  when  determining  which  of  two  or  more  outlines 
is  most  easily  or  rapidly  written.     It  is  very  often  found,  that  an 
outline  which  appears  to  the  eye  very  simple,  requires  very  dexter- 
ous movements  of  the  fingers  to  write.     The  student's  aim  should 
be,  to  choose  flowing,  rather  than  cramped  outlines,  though  the  lat- 
ter may  occupy  less  space. 

258.  Special  attention  should  be  paid   by  the  student,  to  rules 
governing  the  use  of  consonants  expressed  in  more  than   one  way, 
as :     The  circle,  or  stroke  s  and  z ;   The  hook,  or  stroke  f,  v,  and 
» ;    T  and  d  expressed  by  the  strokes,  or  by  the  halving  principle, 
as  well  as  the  different  forms  for  the  expression  of  h.     Paragraphs 
intended  for  special  notice,  and  which  generally  relate  to  formation 
of  outlines,  and  the  choice  of  the  best  mode  of  writing  these  conso- 
nants, whether  with  a  circle t  hook,  etc.,  will  be  found    to  contain 
words  printed  in  italics  and  will  be  seen  at  a  glance,  by  referring  to 
the  respective  page  of  explanation  given  with  each  principle. 

259.  The  student  will  derive  great  benefit  by  reading  and  copy- 
ing from  engraved  Phonography,  carefully  noting  the  forms  given. 
The  selections  commencing  on  p.  108  should  receive  this  attention. 

Rules  for  writing  upward  and  downward  /and  r\  given  on  next 
page. 


93 


PALMER'S  NEW  MANUAL.  OF  SHORTHAND. 


RULES   FOR  WRITING  L  AND  R. 

INITIAL  L. 

DOWNWARD.     260.   When  /  is   the  first  consonant  in  a  word,  and  is 
preceded  by  a  vowel,  write  the  downward  /.     See  line  I. 
When  /  precedes  the  stroke  ing,  it  is  generally  struck 
downward.     See  line  2. 

UPWARD.  261.  When  /begins  a  word,  and  is  immediately  fol- 

lowed by  k,  m,  or  any  of  their  derivatives,  write  the  upward 
/  (see  line  3) ;  but  when  followed  by  other  consonants, 
use  the  upward  or  downward  /  as  may  be  most  convenient, 

FINAL  Z. 

DOWNWARD.  262.  When  /  ends  a  word,  and  is  immediately  pre- 
ceded by  the  strokes  f,  v,  upward  r,  A,  or  two  vowels,  write 
the  downward  /.  .See  line  4. 

UPWARD.  263.  When  /  is  the  last  consonant  In  an  outline,  and 

is  followed  by  a  vowel,  write  the  upward  /.     See  line  5. 

When  /  is  preceded  by  m,  as  in  the  words,  mail,  meal, 
mile,  etc.,  write  the  upward  /.  See  line  & 

INITIAL  R. 

DOWNWARD.  264.  The  downward  r  should  be  used  when  joining 
with  the  tick  aspirate,  for  such  words  as  hear,  hark,  etc. 
See  line  7. 

265.  When  r  is  preceded  by  a  vowel,  or  followed  by 
m  or  any  of  its  derivatives,  as  in  the  words  ear,  air,  arm, 
etc.,  write  the  downward  r  (see  line  8)  except  for  such 
words  as  are  given  in  line  9,  where  the  upward  r  secures 
better  outlines.  For  rumor  use  the  upward  r.  See  last 
word,  line  10. 

UPWARD.  266.    When  r  begins  a  word,  write  the  upward  ^-(see 

line  10) ;  also  when  r,  preceded  by  the  circle  J  or  loop  st, 
is  preceded  and  followed  by  a  vowel.  See  line  II. 

FINAL  R. 

DOWNWARD.     267.  When  rends  a  word,  write  it  downward.    L.  12. 
UPWARD.  268.   When  r  is  the  last  consonant  in  a  word,  and  is 

preceded  by  m,  mp,  upward  r  or  two  descending  strokes, 
or  followed  by  a  vowel,  use  the  upward  r.  See  line  13. 


94          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


ON  FOREIGN  SOUNDS. 

269.  The  number  of  foreign  words  incorporated  with  the  En- 
glish language  makes  it  sometimes  necessary  for  the  Phonographer 
to  write  one  or  more  words  of  foreign  origin.     Those  who  are  ac- 
quainted with  either   Italian,   German,  Scotch,  French  or  Welsh 
will  find  the  scheme  given  in  the  table  on  the  opposite  page  very 
suggestive. 

270.  The  French  language  possesses  several  vowels  unknown  in 
English,  and  gives  nasal  utterance  to  others  used  in  our  language. 
The  vowels  are  represented  by  short  strokes  written  parallel  with 
the  consonant,  and  in  three  positions.     See  Nos.  5,  6  and  u.    The 
nasals,  by  a  small  double   curve  written  as  in  No.   13  to  16,  and 
conveniently  struck  through  the  stroke  as  ^v^'      Bonbon,  C^-4- 
Encore,  <^  sain.  ^te** 

271.  The  guttural  cht   heard   in   Scotch,  German,  Irish,  Welsh 
and  other  languages,  is  expressed  by  a  small  double  curve  struck 
through  the  stroke,   thus:   —5-   ch ;  as   heard  in  /^      loch  (Scotch 
lake},  •  ;     ich  (German  /),  L^     dach   (German  roof).     The  German 
g,  as  heard  in  sieg,  is  written  thus:  04-  sieg  (victory).     These  con- 
sonants belong  to  the  class  of  Continuants.     See  Nos.  17  and  18. 

272.  The  Welsh  //,  as  heard  in  Llanelly,  is  the  whispered  form 
of  the  English  /,  and  is  produced  by  placing  the  tongue  in  the  po- 
sition for  uttering  the  English  /,  emitting  breath  instead  of  voice. 
This  whispered  form  of  /  is  represented  by  a  waved   line   struck 
through  the  stroke.     See  No.  19. 

273.  By  careful  speakers,  in  this  country  and  in  England,  a  dis- 
tinction is  made  between  e  in  mercy  and  e  in  merry ;  between  a  in 
dare  and  that  in  dame ;  as  well  as  a  difference  between  a  in  at  and 
a  in  balm.     For  the  correct  expression  of  such  sounds  see  table, 
opposite  page. 


1 
PALMER'S  NEW  MANUAL  OF  SHORTHAND.           05 

»_  «,„,, 

et. 

FOR   THE   REPRESENTATION    OF   FOREIGN    SOUNDS. 

ABBREVIATIONS 

£.  English.                     G.   German. 
/.     Italian.                       S.    Scotch. 

F.  French. 
W.  Welsh. 

LONG   VOWELS.                                          SHORT  VOWELS. 

I 

1 

e     earth,  £.;  le,  ^. 

7 

1        i 

ici,  F. 

2 

' 

4     air,  £.;  fr£re,  /\ 

8 

'1     6 

6t6,  F. 

3 

J 

a    pate,  F. 

9 

J      a 

patte,  F.;  ask,  E. 

4 

1 

o     Konig,  G. 

10 

1      6 

Bocke,  G. 

5 

\ 

eu   deux,  F. 

ii 

']      o 

bonne,  F. 

6 

J 

u    rue,  F. 

12 

J      u 

Kunste,  G. 

NASAL  VOWELS.                                          CONSONANTS. 

»3 

si 

in    fin,  /»". 

17 

_J_ 

ch    ich,  G.;  loch,  S. 

14 

1 

en    en  danse,  F. 

18 

J 

gh    einig,  G. 

15 

'I 

un   brun,  F. 

19 

r 

11    Llanelly,  JF. 

16 

^ 

on  bon,  ^. 

20 

v 

r     amor,  7. 

96           PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

gafcU  0t  OHfrotipccT  Ccmsomtnts. 

-r- 

S-F- 

SS-f- 

-FR- 

S-FR- 

-FL- 

S-FL- 

sr-r 

274.    To  find  the 
S  ig  n  ifi  c  a  tion  of 
any  consonant  com- 
bination trace  the 
line  in  which  it  oc- 
curs   to    the    top 
and    then    to   the 
left,  thus  the  char- 
acter marked  *  in 
the  fifth  square  of 

V. 

V. 

e_ 

^ 

^ 

V, 

^ 

JL 

i 

V^ 

^ 

^ 

^ 

*^ 

^ 

^ 

^ 

ss 

V) 

<£ 

^ 

a 

s 

^0 

\0 

V5 

N 

w 

^ 

^ 

^ 

•5 

I* 

^ 

^ 

MS 

V. 

^ 

5» 

^ 

^> 

I. 

tl 

V. 

UN 

<0 

^b 

^ 

^ 

^ 

^0 

^> 

^0 

this    fage    repre- 
sents FRN. 
275.  The  hyphens 
placed  before  and 

SHHS 

V2> 

13 

^3 

^ 

5 

Va 

^2 

^2> 

S-SHN 

Vf 

V 

^e 

^ 

% 

V 

^e 

V 

S-SHNS 

^ 

V 

§8 

"V 

^\ 

^ 

% 

5a 

the  top  and  side  of 
the   table   on   this 
and  the  page  oppo- 
site,   show    -where 
vowels  may  be  in- 
serted. 
276.   The  table  on 
this    page     illus- 
trates   the  forma- 
tion   of     Grouped 
Consonants    from 
curved  strokes   of 
the    phonographic 
alphabet,  and  that 
on  the  opposite  page 
those  from  straight 
strokes.    There  are 
of  course  a  large 
•number  of  the  com- 
binations  which 
tiever  occur  in  writ- 
ing Phonography. 

ST 

J* 

^ 

^> 

a 

3 

^> 

^ 

^ 

STS 

V, 

^ 

^ 

•^ 

2 

V> 

t 

jb 

ST-SHN 

w 

^ 

& 

3 

3 

W 

U 

^j- 

OWN) 

w 

^ 

£ 

*« 

3 

fe 

b 

fc 

STR 

^> 

^0 

^ 

s 

S 

<^ 

^D 

VD 

STW 

ig 

fe 

fc 

3 

5 

fc) 

8b 

%=> 

I7T-5HN 

te 

to 

fe 

^ 

^ 

jb 

RD 

b 

STR-SHNS 

)SO 

Sb 

fo 

3 

•S 

te 

§s 

b 

T 

\^ 

!L 

e 

•^ 

•^ 

<L 

t 

<x_ 

TS 

Vo 

U 

4 

*a 

^ 

*« 

5o 

<u 

NT 

^ 

^3 

0, 

"b 

«i 

«a 

«, 

«a 

NTS 

^3 

ta 

09 

% 

•^ 

^s 

tt 

U 

TST 

to 

^ 

Qi 

=b 

^ 

«a 

1. 

la 

X 
N« 

X 


N* 


So 


^_ 

S 


V, 


S 


"X 


N. 


s 


jX 

No 


S 


s, 


Vo 


S 


Na 


Vo 


s 


N 


N, 


X 


s 


s 


^ 


S, 


Ob 


\ 


98         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

Alphabetically  Arranged 

(FOR  THE  WRITER). 

In  the  following  tables  the  line  of  writing  t's  indicated       a  dotted 
line,  which   will  guide  the  student  as  to  where  the  strokt     hould  be 

written. 

. 

A 

o 

as 

___ 

called 

N. 

above 

V 

aye 

—  = 

can 

—— 

accord-ing-ly 
account 

\ 
N 

Be 
been 

£ 

cannot 
care 

..  

/ 

advantage 

• 

before 

T- 

cared 

v. 

after 

S 

behind 

— 

could 

X 

again 
all 

"Ss 

bend 
bent 

f 

child 
cold 

c_ 

r 

alone 

._!_. 

beyond 

— 

come 

JL 

already 

v 

bold 

— 

common 

an 

«x 

bread 

1 

Dear 

and 

±1 

brought 

1 

did 

—  - 

another 

JL 

build 

t 

differ-ed-ent-ly- 
ence 

^ 

any 

• 

but 

*— 

difficult-y 

/ 

are 

c  —  • 

Call 

1 

do 

LAWYER 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.           99 

J 

done 

o 

Has 

^ 

let 

•> 

Every 

^ 

have 

r. 

letter 

V, 

Faint 

..'... 

he 

r 

light 

..V... 

find 

— 

him 

J>L 

Lord 

? 

first 

o 

his 

- 

Made 

^ 

for 

A 

how 

~* 

man 

TN 

from 

JL 

I 

^ 

matter 

V 

full-y 

* 

immexliate-ly 

— 

may 

— 

Gain 

•~*^ 

important-ce 

.Ci. 

me 

— 

gave 

— 

improve-d-ment 

\ 

member 

/ 

general-ly 

— 

in 

— 

met 

I 

generation 

o 

is 

Z* 

men 

j 

gentleman 

\ 

it 

~ 

might 

gentlemen 

I 

its 

s-  S 

mind 

— 

give-n 

t 

Just 

~* 

most 

T 

glad 



Kingdom 

- 

more 

— 

go 

— 

know 

^ 

motion 

"" 

God 

—  y 

known 

.fTl 

Mr. 

- 

good 

^ 

Language 

^, 

must 

•" 

great 

r 

late 

my 

ioo          PALMER'S  NKW  MANUAL  OF  SHORTHAND. 

^ 

Nation 

^ 

Part 

c 

than 

- 

nature 

_±L 

particular-ly 

-—  - 

that 

Jrl 

near 

Vo 

Phonography 

.._.'.... 

the 

v^ 

neither 

J 

pleasure 

) 

their 

—  . 

no 

J 

pleasures 

3 

thei.rs 

SI 

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PALMER'S  NEW  MANUAL  OF  SHORTHAND.          101 

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102         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

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PALMER'S  NEW  MANUAL  OF  SHORTHAND.          103 

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104         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

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io6        PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


OUTLINES. 

277.  The  consonants  of  a  word  form  what  is  termed  its  skeleton 
or  outline,  and  must  be  written  without  lifting  the  pen.      (Par.  35, 
page  36.) 

278.  There  are  a  number  of  words  in  common  use,  whose  out- 
lines need  not  be  vocalized,  when  writing  the  Corresponding  Style 
of  Phonography,  for  the  following  reasons : 

First. — The  outlines  are  sufficiently  clear  in  themselves,  when 
pronounced,  to  readily  suggest  the  words  they  represent. 

Second. — Because  such  words,  from  their  frequent  occurrence, 
impress  their  outlines  upon  the  memory  sooner  than  others  of  less 
common  use.  And  (as  experience  has  taught)  the  placing  of  vow- 
els to  these  outlines  tends  to  confuse,  rather  than  assist,  the  student, 
when  reading  Phonography. 

279.  On  the  opposite  page,  and  the  one  following,  will  be  found 
a  very  complete  list  of  outlines  unnecessary  to  vocalize  in  the  Cor- 
responding Style  of  Phonography.      From    these   can  be  derived 
many  others  by  slightly  changing  the  outline,  as :  exist  becomes 
existence  by  adding  the  ns  circle   to  /;     effect  becomes  effective  by 
joining  the  v  hook  to  the  stroke  /  in  its  outline,  and  furnish  to  fur- 
nishes by  adding  a  circle  s.     Words  thus  derived  need  not  be  vo- 
calized. 

280.  It  will  be  noticed  that  some  of  the  words  in  this  list  are 
composed  of  logograms,  as  therefore,  something,  etc.,  and  others  by 
employing  a  logogram  as  a  part  of  their  outline,  as  forward,  after- 
ward, etc.    This  will  in  no  case  prove  confusing. 

281.  The  reading  exercises,  commencing  on  page  no,  will  be 
found  to  contain  quite  a  number  of  unvocalized  outlines. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.         107 

UNNECESSARY  TO  VOCALIZE  IN  THE  CORRESPONDING  STYLE. 

Accordance 
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PALMER'S  NEW  MANUAL  OF  SHORTHAND.          109 


282.  To  become  a  good  writer,  it  is  as  necessary  to  read,  as  to 
write  Phonography.     The  former  practice  trains  the  eye  to  distin- 
guish between  the  strokes,  whether  they  are  written  light  or  heavy, 
full,  half  or  double  length,  or  in  the  different  positions.     The  latter 
is  merely  picturing  what  has  been  seen  by  the  eye,  and  is  in  a  cer- 
tain sense  making  the  hand  perform  the  same  mechanical  part  as 
when  writing  ordinary  longhand. 

283.  The  table  of  Unvocalized  Outlines  commencing  on  p.  107 
should  be  memorized  by  the  student  as  early  as  possible,  and  in 
whatever  way  suits  him  best.     It  is  difficult  to  describe  or  point 
out  any  specific  method,  or  lay  down  certain  rules  to  be  adopted 
by  the  student  in  accomplishing  this,  as  different  methods  will  be 
adopted  by  different  individuals. 

284.  The  reading  exercises  commencing  on  the  next  page,  employ 
the    logograms,  and    unvocalized    outlines,  whenever    such    words 
occur,  and  if  the  reader  should  be  unable  at  any  time  to  interpret  a 
logogram  or  outline  to  his  satisfaction,  he  should  refer  to  their  re- 
spective tables. 

285.  If  will  be  found  very  interesting,  as  well  as  profitable,  for 
two  students,  when  they  have  reached  this  stage  of  the  Manual  to 
adopt  the  following  plan :    Let  one  read  aloud    from  the  engraved 
page  of  either  of  the  selections,  while  the  other  writes  it  from  his 
dictation,  in  Phonography,  after  which  compare  with  the  book,  and 
correct  errors.     Then  let  the  student  who  dictated  write,  while  he 
who  wrote  first,  reads  aloud,  etc. 

286.  The  learner  should  not  attempt,  at  first,  to  bring  into  use 
all    the   abbreviating    principles    that    have   been    introduced,    but 
should  be  content   to  practice  for  some  time  a  rather  lengthened 
style  of  Phonography,  making  use  of  only  those  forms  which  he  can 
use  with  confidence,  and  read  without  hesitation.     When  he  feels 
the  need  of  a  briefer  style  than  that  he  is  using,  let  him  employ 
other  abbreviations. 


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PALMER'S  NEW  MANUAL  OF  SHORTHAND.         121 


PREFATORY. 

287.  The  series  of  exercises  commencing  on  p.  122  are  designed 
for  the  Copy  Book  and  are  arranged  to  accord  with  the  manner  of 
presenting  the  system  in  this  book. 

288.  The  best  instrument  for  writing  Phonography  is  a  gold  pen 
— provided  it  is  suited  to  the  writer's  hand  or  style  of  writing.     The 
advantage  a  gold  pen  possesses  over  a  steel  one  is,  that  it  glides 
over  the  paper  more  freely  than  a  steel  pen  and  is  therefore  less 
tiresome  to  the  writer.     A  short  nib  No.  4  is  the  kind  generally  used. 

289.  When  writing  Phonography  with  a  pencil  there  will  be  less 
danger  of  breaking  the  point,  off,  if  the  pencil  be  held  in  a  more 
upright  position  than  when  using  it  for  longhand. 

290.  The  Copy  Book  is  made  of  double-ruled  paper,  the  lines 
being  one-sixth  of  an  inch  apart,  a  little  wider  than  that  used  by 
the  reporter,  though  of  great  assistance  to  the  beginner  in  acquiring 
a  neat  and  uniform  style  of  writing. 

291.  The  student  will   find  it  more  convenient  when  using  the 
Copy  Book  to  write  on  every  other  page,  instead  of  every  page,  by 
so  doing  the  page  to  be  written  on,  will  always  fall  directly  in  front 
of  him.     When  the  book  has  been  thus  filled,  it  can  be  reversed 
and  the  other  pages  filled  in  like  manner. 

292.  The  figures  seen  in  the  exercises  on  the  next  page  and  those 
that  follow,  correspond  to  the  numbers  of  the  paragraphs  of  explan- 
ation given  with  the  principle  being  studied,  and  should  be  referred 
to  whenever  a  doubt  arises  in  the  mind  of  the  student  concerning 
an  outline. 


123          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


EXERCISE  L 

CONSONANTS. 

Par.  3:  Write  the  upright  and  sloping  characters  of  the  phono- 
graphic alphabet. 

Write  the  horizontal  characters  of  the  phonographic  alphabet. 


EXERCISE   II. 
CONSONANTS  COMBINED. 

Par.  8:  p-m  p-k  p-g  b-m  b-k  t-k  t-g  t-m  t-n  d-m  d-k 
d-n  d-ng  ch-k  ch-m  ch-n  ch-g  ch-ng. 

Par.  9:  In  the  following  combinations,  strike  .T/J  and  /downward: 
sh-m  sh-ng  sh-r  sh-v  d-sh  m-sh  n-sh  f-1  k-1  t-1  d-1  1-ng 
1-ng-k  1-n  n-l-m  f-l-ng  p-1. 

In  the  following  combinations,  strike  sh  and  /  upward :  sh-1 
f-sh  f-l-sh  p-1  b-1  m-1  v-1  r-1  1-f  1-v  1-p  1-t  p-m-1  1-p-l 
k-l-p  1-r-l  1-t-l  r-l-p  t-m-1  t-l-t. 

Par.  10:  In  the  following  combinations,  the  first  stroke  should  be 
written  sufficiently  high  above  the  line,  that  the  descending  conso- 
nant shall  touch  it : 

k-sh     g-sh    k-t    m-f    n-f    k-p    k-ch    n-p    n-t    n-th     m-v    k-t-m. 

The  following  combinations  are  written  on  the  line: 
m-n     m-k     n-m     k-m     g-m     m-g     ng-k     k-ng     m-ng. 

In  the  following  combinations,  the  first  stroke  should  be  struck 
down  to  the  line,  and  the  second  consonant  below  it : 

t-p    p  t    d-p    d-th    ch-p    p-ch    f-p    f-t    f-th    f-r   p-p    t-t   ch-ch. 

Par.  1 1  :   ( Written  with  an  anglf}    1-m    th-k    f-ng    f-n     th-g    v-n. 
(Written  with  no  angle]  f-r   m-sh    k-r    1-ng    ih-ng    1-k     p-n    b-n. 

Par.  12:    b-ng    p-b    f-g    v-k    t-d    ch-j    1-ng    d-f    d-t    v-g    m-z. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.         123 


EXERCISE  III. 
COMBINATIONS  CONTAINING  THE  CIRCLE  S  AND  Z.  J 

Par.  16:  s-p  s-t  s-ch  s-b  .s-d  s-j  s-k  s-g  pjS  b-s  t-s  d-s 
ch-s  j-s  k-s  g-s. 

s-f    s-v     s-th     s-sh     f-s     v-s     th-s     sh-s     r-s     m-s     n-s     ng-s. 

Par.  17:  t-s-k     k-s-t     p-s-k     k-s-p     k-s-ch     ch-s-k     d-s-k     k-s-d. 

Par.  18 :  p-s-v  p-s-th  t-s-th  p-s-1  b-s-I  k-s-m  k-s-th  g-s-f 
g-s-1  d-s-m. 

Par.  19:  m-s-m    n-s-n    m-s-1    f-s-1    r-s-1    n-s-ng    1-s-r    f-s-f    r-s-r. 

In  the  following  combinations  write  the  circle  on  the  inner  side 
of  the  first  curve  : 

m-s-n     m-s-v     m-s-ng     f-s-r     n-s-m. 

Par.  2O:   p-s-p     k-s-k     t-s-t     k-s-g     b-s-p     d-s-t    g-s-k    g-s-g. 

EXERCISE    IV. 
COMBINATIONS  CONTAINING  UPWARD  fi. 

Par.  23 :  p-r  b-r  m-r  t-r  ch-r  d-r  g-r  j-r  sh-r  f-r  k-r 
r-p  r-t  r-k  r-ng  r-n  r-f  r-v  r-ch  r-b  r-sh  r-p-r  m-r-t 
m-r-n  f-r-th  r-t-r  m-r-ch  r-ng-k  ch-r-ch  r-ch-r. 

Par.  25:~s-r  s-r-j  s-r-f  s-r-v  s-r-ch  s-r-k  s-r-s  s-r-s-p  s-r-s-t 
m-s-r  k-s-r  t-s-r  p-s-r  b-s-r  b-s-r-v  p-s-r-n. 

Par.  26:  p-r-r     t-r-r     k-r-r     m-r-r  _  r-r-p     r-i-n     r-r-ng     h-r. 


EXERCISE    V. 
THE   LONG   VOWELS. 

Copy  the  engraved  exercise  given  on  page  35  in  the  Copy  Book. 
Memorize  pars.  31  to  33. 


124 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


EXERCISE   VI. 

WORDS  CONTAINING  LONG  VOWELS. 
Par.  34  to  38. 

1st  heavy  dot :  Tea,  pea,  bee,  see,  me,  key,  knee,  fee,  sea,  eat, 
each,  peak,  cheek,  meek,  beak,  keep,  sheep,  deep,  team, 
beam,  reach,  ream,  cheap. 

2d. heavy  dot:     Pay,   bay,   day,  gay,  say,  may,   ape,   take,  dame, 

fame,   name,   came,  maim,  cape,  bail,  pail,  gale,  knave, 

mail. 

3d  heavy  dot :     Atm,  balm,  palm,  alms,  calm,  farm. 
1st  heavy  dash:     Gnaw,  paw,  Paul,  tall,  talk,  chalk,  saw,  bought, 

taught, -thaw,  ball,  gnaw,  ought. 
2d  heavy  dash :     Oat,  oak,  owes,  owed,  foam,  coach,  coal,  rope, 

though,  both,  comb,  no,  so,  pour,  also. 
3d  heavy  dash :     Pool,  boom,  food,  loom,  coop,  hoop,  ooze,  move, 

booth,  tool,  tooth,  root,  room. 


EXERCISE   VII. 
WORDS  CONTAINING  SHORT  VOWELS. 

Par.  40  to  43. 
1st  light  dot :     Pick,  tick,  pitch,  nick,  mill,  tip,  ship,  nip,  nib,  bill, 

pity,  chilly,  lily»  billow,  minnow. 
2d  light  dot :   Fed,  peg,  check,  wreck,  deck,  peck,  neck,  bell,  beg, 

red,  berry,  fellow,  merry,  penny. 
3d  light  dot:     Pack,  rat,  'tack,  lack,  match,  latch,  back,  bat,  patch, 

rag,  lag,  bag,  tag. 
1st  light  dash :     Lock,   fog,  dock,   shock,   mock,   knock,  log,  top, 

rock,  foggy,  jolly,  bonny,  Polly,   poppy. 
2d  .light  dash :     Tub,  bud,  bug,  rub,  dug,  cub,  rut,  buck,  duck, 

tuck,  pug,  funny,  lucky,  money. 
3d  light  dash  :    Took,  book,  foot,  pull,  nook,  full,  look,  push,  cook, 

fully,  pully,  bullet,  pussy. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.         125 
Par.  44:     Poem,  poet,  duel,  lower,  layer,  jewel,  Moab. 


EXERCISE    VIII. 
WORDS  CONTAINING  S  AND  Z. 

Par.  46  to  48  :  Speak,  spoke,  spake,  soap,  stay,  sage,  safe,  save, 
soup,  said,  sail,  sake,  sale,  sane,  .scope,  scum,  seam,  seat,  seed,  sell, 
set,  sleep,  sleeve,  slake,  slew,  slope,  slow,  slowly,  smear,  smoke, 
snag,  snake,  sneak,  snow,  sod,  silk,  solo,  speck,  spool,  sunk,  sup, 
space,  soreness,  solace,  sneeze,  sluice,  sinless,  since. 

Par.  49:  Tusk,  rusty,  tussle,  rusk,  desk,  muzzle,  dusk,  musk, 
fusty. 

In  the  following  words,  the  third  place  vowel  is  written  to  the 
first  consonant : 

Rasp,  gasp,  mask,  passive,  cask,  nasty,  bask. 

Par.  50:     The  following  words,  are  written  with  the  large  circle: 
Losses,  kisses,   chases,    pieces,   tosses,  leases,  paces,  doses,  faces, 
basis,  pauses,  noses,  roses,  gazes,  amazes,  causes,  teases,  loses. 

Par.  51  :  Zeal,  zealous,  zeno,  zero,  zinc. 

Par.  52 :  Us,  so,  say,  see,  sea,  saw,  ease,  easy,  Esau,  essay. 

Par.  53  :  Asp,  ask,  assail,  escape,  asleep,  essence,  Essex,  osage. 

Par.  54 :  Busy,  fussy,  cozy,  gauzy,  also,  racy,  pussy,  Bessie. 

Par.  55 :  Sissy,  saucy,  Sicily,  sauce,  cease,  assess,  says. 


EXERCISE    IX. 
DIPHTHONGS. 
Par.   56  to  61. 

I. — Pike,  pile,  spike,  bile,  time,  timely,  tire,  tile,  dire,  fire,  sign, 
snipe,  smile,  mile,  nigh,  knife,  mire,  ripe,  nice,  mice,  chime,  pie, 
eyes,  ihy,  alive,  type,  dyke,  my,  bite. 

Oi. — Spoil,  boil,  boy,  oil,  toy,  toil,  joy,  coil,  noise,  foil,  enjoy, 
coy,  oily,  annoy,  alloy. 


iz6         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

Ow. — Out,  owl,  thou,  bow,  cow,  vow,  our,  sow,  mouth,  foul, 
tower,  gouge,  vouch. 

Par.  62:     Wipe,  wide,  wife,  wiles,  wire,  wight,  wives. 


EXERCISE   X. 
THE  COALESCENTS. 

Par.  64:  Write  the  long  coalescents  we,  wq,  wah,  waw,  -wo,  woo, 
before/,  t,  and/. 

Write  the  short  coalescents  wi,  we,  wa,  etc.,  before/.  /,  and/. 
Write  the  long  coalescents^,  ya,  yah,  yaw,  yo,  yoo,  before  /,  t, 
and/. 

Write  the  short  coalescents  ^z,  ye,  ya,  etc.,  before/,  t,  and/. 

Weep,  sweep,  weed,  sweet,  Swede,  walk,  wash,  watch,  wade, 
wish,  wet,  wit,  widow,  web,  wed. 

Year,  yawn,  young,  yoke,  youth,  use  (noun),  few,  view,  use 
(verb),  mew,  cue,  knew,  pure,  due,  mule,  duty,  Lucy,  cube. 


EXERCISE    XI. 
THE  INITIAL  W  HOOK. 

Par.  67  and  68 :     Well,   wealth,  willow,  welcome,  windy,  win- 
dow,   wane,    work,    wear,    worm,    win,    wool,    wealthy,    worthy, 
worth,  wolf,  willing,  ware,  weary,  war,  wall,  William,  Wednesday. 
Par.  69 :     Swill,    swear,    swarm,   swallow,    swim,    swam,   swan, 
swarthy,  swelling,  swine,  swell. 


EXERCISE  XII. 
DOUBLE  CONSONANTS. 

Par.  70  to  75 :  Play,  place,  plea,  please,  plow,  pluck,  plucky, 
plug,  plum,  plume,  plush,  pray,  preface,  press,  prey,  price,  prickle, 
prig,  prim,  prime,  priming,  prize,  prose,  prosy,  prow,  prowl,  pry, 
blab,  black,  blake,  blame,  blank,  blaze,  bleach,  bless,  blew,  blithe, 
block,  blotter,  brace,  brag,  brake,  brassy,  brawl,  brawny,  bray, 
breach,  break,  breath,  breathe,  breech,  breeze,  bribery,  bridge,  bridle, 


PALMER b    NEW    MANUAL    OF    SHORTHAND.  12J 

brig,  brim,  brisk,  brittle,  broach,  brogue,  broom,  broth,  brow,  brush, 
trace,  track,  tram,  trap,  trash,  tray,  treason,  treble,  trick,  trickle, 
trim,  trip,  triple,  troop,  trooper,  trouble,  trudge,  true,  try,  drag, 
draggle,  drake,  draw,  draper,  dray,  dream,  dreamy,  dressy,  drew, 
dribble,  drip,  droop,  drop,  drose.drowsy,  drug,  drum,  drunk,  claim, 
clam,  clap,  clapper,  clash,  clasp,  class,  clatter,  claw,  clay,  clear, 
clew,  climb,  cling,  clip,  cloak,  clock,  close,  cloth,  club,  clue,  clutch, 
crack,  cracker,  crackle,  crank,  crape,  crash,  cream,  creamy,  crease, 
creep,  creeper,  cress,  crib,  crime,  crisp,  crook,  crop,  cross,  crossing, 
croup. 

Applause,  apple,  apply,  appraise*  able,  utter,  eider,  udder,  adder, 
able,  etcher,  eagle,  eager,  acre,  ocher,  odor. 

Par.  78:  Flag,  flake,  flame,  flap,  flare,  flash,  flask,  flax,  flay,  flea, 
flew,  flock,  flog,  floor,  flow,  flue,  fluffy,  flung,  flurry,  flush,  frame, 
Frank,  fray,  freak,  freckle,  free,  freeze,  frisk,  frizzle,  fro,  frog,  froth, 
thrall,  thrash,  three,  threw,  thrice,  thrill,  thrive,  throb,  throe,  throw, 

Awful,  offer,  evil,  f  val,  over,  ether,  author,  either,  other. 

Par.  79:     Freshly,  essential,  official,  special,  bushel. 


EXERCISE  XIII. 
TREBLE  CONSONANTS. 

Par.  82 :  Spray,  spree,  sprig,  spring,  sprung,  spruce,  spry, 
sprinkle,  strap,  stray,  streak,  stream,  stretch,  stretcher,  strew,  strip, 
stripe,  stroke,  struck,  struggle,  scrabble,  scrap,  scrape,  scraper, 
scratch,  scream,  screech,  screw,  scribble,  scrip,  scrub,  scruple. 

Par.  83 :     Splash,  splasher,  splice,  splicing,  splutter. 

Par.  84:  Suffer,  civil,  swivel,  civilize,  civility,  savor,  savory, 
cipher. 

Par.  85  :  Prosper,  extreme,  express,  expressive,  gastric,  pastry, 
peaceable,  displace,  display,  possible,  bicycle,  disclose,  disclaim, 
disciple. 

Deceiver,  decipher,  decipherable,  descry,  disagree,  disagree- 
able, dissever,  deciphers,  deceivers,  disagrees,  disgraces,  disgrace, 
jasper. 

Par.  87:     Despair,   rascal,  peaceful,  gospel,  explore,    explosive, 


128          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


EXERCISE   XIV. 

THE  ASPIRATE. 

Par.  89:    The  following  words  are  written  with  the  stroke  aspirate: 

Hah,  haw,  hay,  Hayes,  ho,  house,  hose,  haggle,  hang,   Hannah, 

hash,  haughty,  haze,  hop,  head,  heavy,  hedge,  heetl,  hitch,  hatch. 

The  following  words  are  written  with  the  dot  aspirate: 
Happy,  hope,  had,  height,  half,  hide,  white. 

The  following  words  are  written  with  the  tick  aspirate : 

Hack,  hag,  hall,  hallow,  ham,  home,  hazy,  hare,  harem,  help, 
halo,  helm,  hem,  homely,  holy,  heal,  hark,  whip,  whig,  whisk, 
whiz,  whistle,  whistler,  whack. 

Hater,  hatter.-heater,  Hebrew,  hobble,  Hooper,  huddle. 

Nahum,  unholy,  unhook,  unwholesome. 

The  following  words  require  the  initial  hook  to  be  shaded. 
Wharf,  wheel,  whelp,  whim,  whimper,  while,  whine,  whale. 

Par.  91 :     Hassock,  hasten,  hasty,  husk,  husky,  hustle. 


EXERCISE  XV. 
THE  N  HOOK. 

Par.  93 :  Pain,  pan,  pawn,  pen,  pin,  pine,  tin,  ten,  tan,  ton,  tun, 
tune,  bane,  bone,  boon,  dean,  deign,  Dan,  dawn,  din,  den,  plane, 
plan,  prone,  train,  drain,  drawn,  drown,  keen,  cane,  can,  cone,  coon, 
clean,  clan,  crane,  crone,  spleen,  sprain,  strain,  chin,  chain,  gin, 
John,  June,  join,  green,  grain,  grown,  hen,  run,  ran,  rain. 

Par.  94  to  97 :  Feign,  fan,  fawn,  fun,  flown,  frown,  vein,  van, 
even,  oven,  thin,  thrown,  thine,  then,  than,  sheen,  shown,  shrine, 
line,  lean,  lawn,  loan,  loon,  slain,  mean,  main,  moan,  moon,  mine, 
known,  nine,  noun. 

Par.  98:  Punish,  finish,  banish,  clannish,  vanish,  Danish,  lining, 
cleaning,  raining. 

Par.  99:     Pins,    pens,    pans,    pines,    pains,    spans,    tins,     tones, 


PALMER'S    NEW    MANUAL   OF   SHORTHAND.  1 29 

strains,  bones,  dawns,   plans,   trains,  drains,  canes,  sprains,  chins, 
joins,  greens,  grains,  cones. 

Par.  100:     Fans,    frowns,    veins,   lines,    means,    moans,    mines, 
nouns;  vines,  oceans,  loans. 

Par.  101  :     Lancer,  cancer,  painstaker,  fencing,  ransom,  lonesome. 

Par.  102  :     Puny,  bony,    bonny,    tawny,   China,   Dinah,    money, 
funny,  crony,  rainy,  pony. 

Par.  103:     Pounces,   princes,    prances,  bounces,   tenses,   trances, 
trounces,  dances,  dunces,  chances,  glances. 

Fences,  flounces,  Francis,  lances,  minces,  evinces. 


EXERCISE    XVI. 
Mp,   Mr  AND  Nr. 

Par.  104:  Pump,  pomp,  plump,  bump,  tramp,  trump,  damp, 
dump,  camp,  crimp,  cramp,  gimp,  scamp,  vamp,  thump,  shrimp, 
fmpel,  impair,  impede,  impeach,  impassive,  impose,  impure. 

Par.  105 :  Embalm,  embank,  embargo,  embark,  embarrass,  em- 
bassy, embed,  embellish,  embezzle,  embody. 

Par.  106:     Hampton,  Hampshire,  hemp,  hempen,  hump. 

Par.  107  :  Palmer,  plumber,  primer,  bloomer,  tamer,  tumor, 
dimmer,  dreamer,  drummer,  calmer,  clamor,  glimmer,  glamour, 
grimmer. 

Banner,  dinner,  energy,  minor,   tanner,  designer    honor,  owner. 


EXERCISE    XVII. 
Lr,  Rl,   Ml  AND  Nl. 

Par.  109:  Color,  collar,  lurch,  scholar,  gallery,  rural,  spiral, 
barrel,  ferrule,  camel,  enamel,  tunnel,  canal,  funnel,  final,  channel, 
colors,  scholars,  barrels,  tunnels,  funnels,  channels. 


130         PALMER'S  NHW  MANUAL  OF  SHORTHAND. 


EXERCISE  XVIII. 
THE  /•'  OR    V  HOOK. 

Par.  113:  Deaf,  chaff,  puff,  "beef,  tough,  strife,  chief,  proof,  bluff, 
brief,  buff,  doff,  chafe. 

Calf,  cuff,  skiff,  cough,  clef,  scoff,  cliff,  grief. 

Par.  114:  Brave,  cave,  gave,  crave,  grieve,  grave,  grove,  clove, 
groove,  pave,  clove,  dive,  Jove,  cove;  achieve,  strove,  cleave,  en- 
grave, reprieve,  reprove,  prove,  strive. 

Par.  115:  Rave,  rove,  heave,  hive,  hove,  serve,  deserve,  behave, 
bereave,  reserve,  reef,  rough,  rife,  serf. 

Par.  116:  Coffee,  taffy,  huffy,  defy,  levy,  levee,  survey,  envoy, 
envy,  gravy,  Java. 

Par.  117:  Proves,  braves,  cloves  paves,  strives,  calves,  proofs, 
p\iffs,  cuffs,  coughs,  caves,  roves,  heaves,  reefs. 

Par.  118:  Define,  devoid,  divide,  defense,  devote,  profane, 
graphic. 

EXERCISE  XIX. 
DOUBLE-LENGTH  CURVED  SIGNS. 

Par.  121  :  Feather,  mother,  thither,  father,  smother,  smoother, 
neither,  fuither,  another,  weather,  wither,  whither. 

Par.  122:  Shatter,  flutter,  Easter,  aster,  flatter,  oyster,  letter, 
loiter,  Walter,  smaller,  slaughter,  swelter,  welter,  meter,  center, 
winter,  water,  niter,  motor,  alter,  laughter,  mailer. 

Tender,  tinder,  wander,  thunder,  order,  fodder,  murder,  ladder, 
shudder,  surrender,  Anderson,  gender. 

Par.  123:  Tinker,  anchor,  franker,  thinker,  clinker,  hanker, 
rancor. 

Finger,  hunger,  anger,  longer,  linger,  younger,  Ingersoll. 

Par.  124:  Temper,  scamper,  hamper,  tamper,  damper,  distemper. 

bomber,  cumber,  amber,  timber,  limber,  lumber,  December. 

Par.  125:  Feathers,  shatters,  murders,  hankers,  fingers,  tempers, 
tampers,  cumbers,  limbers. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


EXERCISE  XX. 
THE  Way  HOOK. 

Par.  126:  Twill,  twitch,  twig,  tweak,  twinkle,  twirl,  twirling, 
twitter,  twaddle,  twang,  twice. 

Dwight,  dwell,  dwelling,  dweller. 

Quick,  qaill,  quiver,  quell,  choir,  quarrel,  quip,  quota,  quarter, 
queer,  queerly,  quoth,  quaver,  Quaker,  quiet,  quizzical,  require, 
inquirer,  queen,  equal,  acquire,  equip,  equity,  iniquity,  equalize, 
aquatic,  liquid,  liquefy,  requisite,  quarry,  equinox. 

Anguish,  Guelfs,  guava,  lingual,  guano. 

Par.  128:  Squire,  squib,  squawk,  squab,  squad,  squelch,  squaw, 
square,  squarely,  squall,  squaller,  squabble,  squeezing,  squeak. 

Sequel,  sequester,  sequence,  sequacious,  sequin. 


EXERCISE  XXI. 
THE  Shun  HOOKS. 

Par.  130  and  132 :  Passion,  adoption,  option,  caution,  action, 
cushion,  occupation,  implication,  portion,  education,  reaction,  dic- 
tion, application,  ration. 

Fashion,  mention,  motion,  nation,  notion,  evasion,  tension,  pen- 
sion, admission,  animation,  lotion,  invasion,  revision,  elevation, 
intimation,  ammunition,  pollution. 

Par.  131 :  Edition,  addition, — Station,  attrition. 

Par.,  132:  Dictionary,  actionless,  -educational,  auctioneer,  cau- 
tionary. 

Par.  133 :  Passions,  actions,"'occupations,  fashions,  motions,  na- 
tions, notions,  pensions,  admissions,  invasions,  stations,  editions, 
visions,  sections. 

Par.  134:  Position,  opposition,  supposition,  precision,  decision. 

Possession,  accession,  sensation,  pulsation,  civilization,  accusation. 

Transition,  dispensation. 

Par.  135 :  Oppositional,  sensational,  transitional,  suppositional. 

Par.  136 :  Positions,  oppositions,  decisions,  physicians,  transitions, 
sensations. 

Par.  137:  Shone,  ocean,  shun,  shin,  shins,  shuns,  oceans. 


132          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

EXERCISE  XXII. 
Read  carefully  paragraphs  138  to  146. 

SIMPLE  LOGOGRAMS. 

Par.  146  to  152. 

Fill  two  lines  with  each  of  the  Simple  Logograms,  first  writing  its 
Grammalogue  in  longhand  at  the  beginning  of  the  first  line.  Pro- 
nounce each  Grammalogue  aloud  as  its  sign  is  being  written.  (This 
remark  applies  to  each  exercise  given  on  logograms) 

The,  a,  an-and,  I,  aye,  how,  you,  of,  to,  we,  is-his,  as-has,  he,  it,  be, 
do,  was,  which,  for,  think,  have,  when,  me,  my,  him,  will,  are,  shall-t, 
in,  up,  them,  well. 

SENTENCES  CONTAINING  SIMPLE  LOGOGRAMS! 

I  It  will  be  ready  for  you  in  a  few  days.  2.  When  he  was  sick, 
it  was  my  duty  to  help  him.  3.  Do  you  think  I  shall  have  time  to 
take  many  of  them  away?  4.  You  will  have  tin  e  to  see  him  if  he 
leaves  us  Sunday.  5.  I  fear  you  will  never  think  as  I  do.  6.  Do 
you  think  he  will  try  to  do  the  work  for  me  if  he  is  well  ?  7.  It 
will  be  time  enough  to  reach  the  train,  even  if  you  do  see  him. 
8.  I  shall  try  to  serve  him  when  I  see  his  papers.  9.  He  and  I 
took  up  as  much  money  as  they,  so  you  will  have  to  pay  us  for  it. 
IO.  My  time  for  such  work,  is,  when  you  are  at  play.  II.  Which 
of  the  boys  took  the  poor  fellow  to  the  house.  12.  Which  of 
the  toys  will  you  take  for  the  baby?  13.  Some  people  think^it  is 
time  and  money  thrown  away  to  help  him.  14.  As  it  is  his,  it  will 
likely  remain  as  his  father  wishes  it  15.  I  saw  them,  as  I  dcew  up 
in  my  buggy.  16.  We  think  you  will  like  it  as  much  as  the  other. 

17.  He   will   say   it   is   time   to   go,  if  they  ask   him  for  money. 

18.  When  1  have  time,  I  will  bring  you  some  of  my  books.     19.   He 
was  an^ry  when  he  spoke,  so  I  will  drop  it.     20.  Are  you  to  go  so 
soon  ?     Do  try  and  stay  for  supper. 


PALMER'S   NEW   MANUAL   OF   SHORTHAND. 


'33 


EXERCISE  XXIII. 

VOWEL  LOGOGRAMS. 
Par.  153  to  157. 

All,  too,  two,  already,  before,  ought,  who,  of,  to,  or,  but,  on,  should. 
SENTENCES  CONTAINING  VOWEL  LOGOGRAMS. 

I.  All  I  have  to  say,  will  be  sahl  when  he  leaves.  2.  He  will  go 
on  the  early  train  I  think.  3.  I  have  already  said  how  much 
money  it  took  to  pay  for  it.  4.  It"  you  bring  too  much  silver  I  will 
be  angry.  5.  He  ought  to  do  it  before  they  ask  him.  6.  If  you 
are  in  trouble,  ask  him  to  help  you  before  he  goes  away.  7.  Try  to 
be  at  the  office  before  two  o'clock,  or  before  it  is  taken  away.  8.  I 
ought  to  do  all  of  his  work,  before  he  pays  me.  9.  Two  or  three 
are  already  on  the  way  to  town.  10.  Who  do  you  think  I  saw  on 
the  train?  n.  Two  of  my  boys  will  go,  before  I  eat  my  dinner. 
12.  I  should  like  to  help  you,  but  all  of  my  money  was  taken  by 
the  thieves. 


EXERCISE  XXIV. 

W  AND  Y  LOGOGRAMS. 

Par.  158  to  161. 

We,  -with,  were,  what,  would,  ye,  yet,  beyond,  you,  way,  your,  -well, 
where,  when,  one. 

SENTENCES  CONTAINING  W  AND  Y  LOGOGRAMS. 
I.  We  were  with  you  when  we  spoke  of  his  troubles.  2.  What 
would  you  have  me  do  with  your  books,  should  you  leave  the  city? 
3.  If  ye  love  me,  keep  my  holy  laws.  4.  I  will  take  it,  for  I  think 
it  will  prove  useful  when  I  engrave.  5.  If  we  live  beyond  our 
means,  we  will  have  to  suffer.  6.  He  is  well,  and  on  his  way  to 
your  house,  where  I  think  you  will  see  him.  7.  He  said  he  would 
try  it,  when  you  spoke  of  all  it  would  do.  8.  When  one  of  your 
plans  fail,  try  another.  9,  We  will  go  with  you,  if  they  will  show 
us  how  to'  do  it.  10.  If  your  way  is  right,  do  all  you  can  to  keep 


134          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

in  it.     n.  You  will  think  I  was  right,  when  you  are  beyond  help. 
it.  He  has  yet  to  show  me  how  I  can  make  it  of  use. 


EXERCISE  XXV. 

SIMPLE  STROKE  LOGOGRAMS. 
Par.  162  to  1 66. 

Up,  be,  it,  do,  which,  advantage,  will,  are,  for,  have,  think,  them,  so, 
was,  shall-t,  usual-ly,  kingdom,  common,  come,give-n,  together,  go,  me, 
my,  him,  may,  in,  any,  no,  know,  thing,. language. 

SENTENCES  CONTAINING  SIMPLE  STROKE  LOGOGRAMS. 
I.  He  said  it  would  be  taken  up,  as  soon  as  you  are  ready  for  it. 
2.  I  will  try  to  have  them  before  we  go  "to  see  him.  3.  You  shall 
receive  all  the  advantage  possible,  for  your  success  in  business. 
4.  They  will  show  him  which  of  them  you  are  to  take.  5..  If  you 
think  they  are  for  me,  I  will  keep  them.  6.  Though  I  have  the 
advantage  of  him,  yet  will  I  spare  him  the  disgrace.  7.  So  it  was 
you  who  spoke  when  they  took  the  vote.  8.  As  usual,  the  matter 
was  taken  to  him  for  his  advice.  9.  I  usually  keep  two  or  three  of 
them  on  my  table  to  write  with.  10.  Thy  kingdom  shall  be  taken 
before  many  days.  n.  We  will  go  and  give  him  the  help  he  asks 
of  us.  12.  They  have  given  you  no  common  advantage,  so  you 
should  strive  to  please  them.  13.  If  you  will  come  with  me,  I  will 
show  you  a  thing  or  two.  14.  He  will  use  no  such  language  if  my 
presence.  15.  If  you  wish  any  thing  please  ask  for  it. 


EXERCISE  XXVI. 
LOOPS  St  AND  Str. 

\   Par.  167:   Post,  boast,  best,  beast,  past,  taste,  test.-chest,  dust, 
attest. 

Roast,  wrist,  rust,  raced,  roost,  hissed,  hast,  haste,  host,  hoist, 
cast,  cost,  gust,  guessed. 

Par.  168:  Fist,  fast,  fussed,  feast,  faced,  voiced,  vast,  assist,  zest, 
must,  nest,  whist. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.          135 

Par.  170:  Placed,  priest,  pressed,  twist,  trust,  traced,  dressed, 
cre*t,  crossed,  classed,  quest,  graced,  grist. 

Par.  171 :  Crystallized*  razed,  roused,  noised,  hazed,  housed, 
sneezed.' 

Par.  172:' State,  stout,  stiff,  siaff,  stave,  stove,  steam,  stem,  stone, 
sting,  stung,  stuff,  study,  style,  stun,  stony,  still,  steal,  stimulation. 

Par.  173:  Steeper,  stupor,  stopper,  stutter,  stagger,  stager. 

Par.  174:  Pounced,  bounced,  chanced,  danced,  pranced,  glanced, 
enhanced,  canst,  trounced. 

Par.  175 :  Trusts,  lists,  crests,  invests,  tosts,  coasts,  nests,  mists, 
tests. 

Par.  176:  Investigation,  mystify,  artistic,  statistics,  justify,  testify, 
de->tiny,  majestic,  elastic. 

Par.  177:  Pastor,  poster,  blister,  duster,  jester,  bluster,  coaster, 
carter,  plaster,  cluster,  trickster. 

Faster,  foster,  vaster,  feaster,  songster,  luster,  master,  muster, 
minister,  bolster. 

Par.  178:   Punster,  spinster. 

Par.  179:  Dusters,  posters,  coasters,  clusters,  blisters,  pumters, 
spinsters,  masters,  ministers,  monsters,  musters,  flusters. 

Par.  180:  Strength,  strengthen,  string,  stiange,  strangely,  stran- 
gle, strong,  distraction,  distribution. 


EXERCISE  XXVII. 

INITIAL  HOOK.  LOGOGRAMS. 

Par.  181  to  1 86. 

Principal-le-lv,  member,  rememl>cr-eJ,  (ell,  till,  tntth,  dear,  call,  dif- 
ficult-)', care,fnll-y,  from,  ezery,  very,  three,  tlieir,  there,  mre,  pleasure, 
Mrj,  remark,  more,  near,  nor. 

1  SENTENCES  CONTAINING  INITIAL  HOOK  LOGOGRAMS. 

I.  I  am  sure  it  will  give  you  pleasure  to  see  your  mother  on  this 

occasion.     2.    To  tell  you  the  truth,  I  can   do  no  more    for  you. 

3.  Mr.  James,  do  you  remember  what  he  said  when  he  gave  you  the 

money?     4.   The  principal  members  of  the  club  will    leave  us  if 


136          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

he  goes.  5.  Tell  the  truth  always,  and  you  will  have  no  difficulty. 
6.  "  Remember  the  Sabbath  day,  to  keep  it  holy."  7.  I  will  call 
and  see  you,  every  two  or  three  days,  and  will  do  your  work,  till 
you  are  stronger.  8.  They  tell  me,  the  difficulty  was  principally 
over  a  matter  of  business.  9.  It  is  difficult  to  tell  how  many  people 
will  be  there.  IO.  From  his  remarks,  I  would  judge  he  thinks  of  a 
new  plan  of  action,  n.  Neither  you  nor  I  live  near  enough  to  call 
aiul  see  it.  12.  I  will  inquire  into  the  case  more  fully  when  I  have 
ti.ne.  13.  You  should  care  more  for  work,  and  less  for  pleasure. 
14.  He  is  a  man  of  principle,  so  you  may  trust  him.  15.  "How 
well  do  I  remember,  the  house  where  I  was  born." 


EXERCISE  XXVIII. 
THE  HALVING  PRINCIPLE. 

Par.  187:  Pack,  packed,  patch,  patched,  peak,  peaked,  peck, 
pecked,  pick,  picked,  pinch,  pinched,  back,  backrd,  bake,  baked, 
balk,  balked,  banish,  banished,  blotch,  blotched,  botch,  botched, 
touch,  touched,  tack,  tacked,  tap,  tapped,  tip,  tipped,  track,  tracked, 
deck,  decked,  vouch,  vouched,  leap,  leaped,  slip,  slipped,  slap,  slap- 
ped, mock,  mocked,  nick,  nicked,  nip,  nipped,  ink,  inked,  hitch, 
hitched. 

Peg,  pegged,  page,  paged,  plug,  plugged,  pledge,  pledged,  budge, 
budged,  gauge,  gauged,  nag,  nagged,  drug,  drugged,  beg,  begged. 

Par.  189:  Apt,  wept,  walked,  oft,  aft,  east,  etched,  ached,  aunt, 
art,  eked,  wiped,  ebbed,  edged,  egged,  eased,  oozed. 

Pit,  pet,  pat,  put,  cheat,  chit,  chat,  cat,  cut,  caught,  cute,  feat, 
fit,  fat,  knit,  not,  nut,  night,  note,  mite,  moat,  meet,  meat,  vied, 
void,  vowed,  viewed. 

Par.  190 :  Pinned,  penned,  pawned,  pined,  pained,  spend,  sprained, 
strand,  band,  trained,  twined,  gained,  drained,  friend,  cleaned. 

Paved,  proved,  caved,  grieved,  grooved,  achieved,  craved. 

Cautioned,  cushioned,  motioned,  fashioned. 

Par.  191  :  Pits,  pets,  pats,  cheats,  chats,  cuts,  fits,  skates,  sheets, 
fleets,  pants,  paints,  shouts,  fights,  thoughts,  spots,  spits,  streets, 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.          137 

splits,  bids,  goods,  glides,  dreads,  grades,  deeds,  beds,  bleeds, 
breeds. 

Par.  192  and  193  :  Aunt,  knits,  nets,  note,  sent,  scent,  knot,  night, 
neat. 

Art,  heart,  artery,  return,  heartless,  hurt. 

Light,  let,  late,  malt,  colt,  lot.  lout,  lute,  light,  slight. 

Meet,  mite,  mat,  mate,  mute,  moat,  smite,  smote,  smut. 

In  the  following  words,  the  half-length  stroke  is  shaded  : 

End,  hand,  need,  nod,  needle,  sound,  sand,  sinned,  signed. 

Oared,  hoard,  hired,  heard,  hard,  erred,  sword,  redeem. 

Write /./downward,  reckoning  tlie  vowei  from  the  top  :  Lead,  lad, 
load,  lid,  slide,  slid,  yield,  field,  fooled,  filled,  filed. 

Aimed,  hemmed,  hummed,  hymned,  mid,  mud,  mode,  mewed, 
mnd,  mead,  Maud,  meddle,  muddle,  middle. 

Par.  194:  (Write  half-length  s  downward)  :  Keenest,  greenest, 
meanest,  leanest,  cleanest,  thinnest,  plainest,  elocutionist 

(Write  half-length  s  upward)  :  Bravest,  roughest,  nicest,  gravest, 
vainest,  finest,  briefest,  gruffest,  oftenest. 

Par.  195  :  Waned,  weaned,  welt,  wend,  went,  whined,  wilt,  wind, 
won't,  wound. 

Puffed,  paved,  cuffed,  caved,  gift,  grieved,  cleft,  cleaved. 

Can't,  coined,  scant,  scanned,  grant,  grand,  grunt,  ground. 

Cautioned,  stationed,  fashioned,  motioned. 

Par.  196:   Peopled,  labored,  measured,  baffled,  cleaned,  frowned. 

Acted,  tended,  sounded,  handed,   pelted,  lighted,  mated;  noted. 

Doted,  treated,  loaded,  dreaded,  founded,  fainted 

Par.  197:   Liked,  leaked,  mapped,  kicked,  lagged,  propped. 

Par.    198:   Doted,  dated,  awaited,  dotted,  edited,  situated. 

Par.  199:  Beautiful,  between,  editor,  alphabet,  better,  beautify, 
credit,  freedom. 

Par.  200 :  Raft,  rained,  rant,  raved,  reefed,  reigned,  reined,  rend, 
rent,  rift,  rind,  roved,  served,  surround. 

Par.  201 :  Warmed,  shield,  cleared,  fared,  named,  coward,  fiied, 
feared. 


138          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


FXERCISE  XXIX. 

FINAL  HOOK  LOGOGRAMS. 

Par.  202  to  204. 

Open,  upon,  been,  than,  then,  can,  again,  gain,  ten,  alone,  done, 
Phonography,  general-ly,  men,  man,  opinion,  known,  above,  -whatever, 
difftr-ed-ence-ent,  gave,  objection,  generation,  occasion,  motion,  nation, 
notion,  subjection. 

SENTENCES  CONTAINING  FINAL  HOOK  LOGOGRAMS. 
I.  I  will  call  upon  you  when  you  are  alone,  and  can  help  me. 
2.  He  has  been*there,  and  given  his  opinion.  3.  It  will  make  no 
difference  whatever,  on  this  occasion,  who  goes  with  me.  4.  When 
you  open  your  mouth  to  speak,  always  say  what  is  true.  5.  Beauty 
and  wealth  may  pass  away,  but  truth  can  never  die.  6.  It  is  better 
to  be  an  honest  beggar,  than  a  rich  knave.  7.  When  you  have 
plucked  the  mote  from  your  own  eye,  then  you  may  take  it  from 
your  neighbors.  8,  Again  he  spake,  and  said,  "  Love  one  another." 
9.  The  love  of  gain,  it  is  said,  is  the  root  of  evil.  10.  I  fear  you 
will  have  to  give  at  least  ten  times  this  amount,  before  you  can  take 
it  away.  II.  If  you  have  done  what  is  right,  you  generally  succeed 
in  your  business.  12.  On  this  occasion,  the  general  opinion  was 
expressed  by  a  vote.  13.  All  the  men  present  were  inclined  to  give 
the  man  another' chance.  14.  When  the  truth  is  known,  all  will 
feel  sorry  for  his  wife  and  mother.  15.  I  think  he  gave  the  reason 
for  his  objection  before  he  left  .the  office.  16.  His  name  and  repu- 
tation are  above  reproach.  17.  Motion;  as  all  know,  is  the  change 
of  place.  18.  We  think  such  subjection  should  be  met  with  objec- 
tion by  the  whole  nation.  19.  He  will  do  it  when  he  takes  a  notion, 
and  not  before.  2O.  I  think  Phonography  can  do  more  than  is 
generally, supposed.  21  He  can  work  better  alone  they  said,  so  I 
left  as  soon  as  possible.  22.  Whatever  you  do,  remember  you  have 
my  best  wishes  for  your  success.  23.  They  will  call  upon  you  when 
they  hear  you  are  in  the  city. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.          139 


EXERCISE  XXX. 

HALF-LENGTH  LOGOGRAMS. 

Par.  205  to  208. 

Particular-ly,  opportunity,  part,  spirit,  build,  bold,  brought,  bread, 
bind,  bent,  bend,  told,  toward,  trade,  did,  child,  gentlemen,  gentleman, 
,  called,  cold,  accord-ing-ly,  cared,  quite,  cannot,  account,  God, 
good,  glad,  great,  after,- Jind,  faint,  vote,  thought,  that,  'without,  short, 
light,  let,  late,  Lord,  read,  ivord,  -vorld,  might,  met,  immediate-ly,  made, 
mind,  not,  nature,  -went,  wont,  under. 

SENTENCES  CONTAINING  HALF-LENGTH  LOGOGRAMS. 

I.  I  told  him  particularly,  that  I  did  not  wish  it  brought  on  my 
account.  2.  The  gentleman  took  the  child  and  cared  for  it  on  ac- 
count of  its  mother.  3.  After  I  left,  the  gentleman  immediately  sent 
me  word  to  meet  him  without  fail  (hat  evening.  4.  When  I  called, 
he  gave  me  an  opportunity  to  see  quite  a  number  of  good  books. 
5.  After  all,  I  was  glad  I  let  him  take  it,  for  he  thought  it  very 
beautiful.  6.  He  will  build  his  stable  behind  the  house,  but  I  can- 
not tell  the  exact  spot.  7.  We  were  told  that  the  cold  was  -o  great, 
that  many  people  could  not  stay.  8.  It  is  but  a  short  distance,  so  I 
wont  mind  the  walk.  9.  "  The  spirit  of  God  moved  upon  the  wa- 
ters." IO.  As  I  looked  toward  him,  I  met  his  gaze,  and  saw  by  the 
light  in  his  eyes,  that  he  was  angry,  11.  We  can  find  very  few 
people  in  the  world  without  faults.  12.  According  to  the.r  account 
of  the  robbery,  part  of  the  money  has  been  found  under  ihe  floor  of 
hiS"  room.  13.  He  was  a  brave,  bold  man,  and  was  rewarded  ac- 
cordingly. 14.  "Give  us  this  day,  our  daily  luead."  15  As  we 
made  a  bend  in  the  road,  the  train  moved  faster.  16.  When  they 
bent  over  him  they  saw  that  he  was  faint  and  sick.  17.  The  world 
is  full  of  good,  if  the  heart  and  mind  will  open  the  eyes  to  see  it. 
18.  I  did  not  care  particularly  to  see  him,  so  thought  it  best  to 
leave  immediately.  19.  He  was  told  that  he  would  have  an  oppor- 
tunity to  see  him  on  his  return.  20.  I  cannot  account  for  his  sud- 
dea  departure. 


140         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


EXERCISE  XXXI. 

SPECIAL  VOCALIZATION, 

Par.  210 :  Believe,  charm,  scarlet,  parcel,  telegraph,  merely, 
guards,  marble,  hotel,  experiment,  telephone,  skeleton,  delicate, 
telescope,  skill,  dark,  regard. 

Par.  212:  Bird,  gold,  mixture,  skull,  Turkey,  journal,  scourge, 
court,  curve,  excursion,  volume,  moral,  creature,  culture,  secure. 

Par.  213 :  Amanuenses,  sustain,  suspend,  suspect,  insist,  sister, 
vicissitude,  exercise,  system. 

Par.  214:  Saying,  hurrahing,  sawing,  showy,  poem,  ruin,  hurry- 
ing, gnawing,  snowy,  Owen. 

Par.  215:  Pew,  due,  blue,  prow,  brow,  thou,  vow,  mow,  tow, 
plow,  now,  new,  few,  view,  doubt,  wad,  wander,  want,  war,  warm, 
warn,  wash,  washer,  weed,  white,  whiten,  ice,  Ida,  ire,  Ireland, 
Irene,  item,  itemized,  ivory,  ivy,  oil,  oily,  oil-cloth. 


EXERCISE  XXXII. 

PREFIXES. 

Par.  217:  Commence,  commend,  compact,  company,  compare, 
compass,  compassion,  compel,  complement,  complete,  complex, 
compose,  compromise. 

Concave,  conceal,  conceit,  conceive,  concern,  concession,  concise, 
conclave,  conclusiqn,  Concord,  concur,  concussion,  condensation. 

Par.  218:  Decompose,  decomposed,  decomposition,  recombine, 
recommence,  recommenced,  recommend,  recommit,  recompense, 
recompose,  incommode,  incompatible,  incomplete,  incompressible. 

Reconcile,  reconciled,  reconciliation,  reconsider,  reconstruct,  re- 
construction, reconvey,  reconveyed. 

Recognition,  recognizable,  recognize,  recognized,  recognizing. 

Par.  219:  Cog,  cognizable,  cognizance,  cognizant,  cog-wheel. 

Par.  220:   Magnanimous,  magnanimity,  magnanimously. 

Magnify,  magnified,  magnificent,  magnificence,  magnitude. 

Par.  221:    Intercept,  interception,   interdict    interfere,   mtermar- 


PALMER'S   NEW    MANUAL   OF   SHORTHAND.  14! 

riage,  intermediate,  intermingle,  intermingled,  intermission,  intermit, 
international,  interpose,  intersection,  interspersing,  intervene. 

Introduce,  introduced,  introducing,  introduction,  introspection. 

Enterprise,  enterprising,  entertain,  entertained,  entertainment. 

Par.  222 :  Contravene,  contravened,  contravention,  contraband 

Controversial,  controversially,  controversy,  controvert. 

Counteraction,  counterfeit,  countermand,  countermarch,  counter- 
mine, countermined,  counterplot,  counterpoise,  countersign. 

Par.  223 :  Insatiable,  inscriber,  insertion,  insolence,  insolent,  in- 
soluble. 

Enslave,  enslaved,  enslavement,  enslaver. 

Unseemly,  unsociable,  unsociably,  unseasoned,  unscrupulous. 

Par.  224:  Circumflex,  circumscribe,  circumspect,  circumspection, 
circumvent. 

Self-acting,  self-assertion,  self-command,  self-conceit,  self-control, 
self-defense,  self-esteem,  self-evident,  self-made,  self-possession. 


EXERCISE  XXXIII, 
AFFIXES. 

Par.  225 :  (Stroke  ing}  :  Abusing,  accusing,  binding,  placing, 
pleasing,  poising,  facing,  voicing,  praising,  crossing,  causing,  guess- 
ing, rising,  musing,  driving,  -blessing,  meaning. 

(Dot  ing)  :  Taking,  sleeping,  doing,  buying,  leaping,  training, 
cleaning,  making,  speaking,  cooking,  feasting,  fasting,  bursting, 
casting,  coasting,  striking,  trying,  paying,  dancing. 

Par.  226 :  (Circle  ings)  :  Etchings,  doings,  engravings,  writings, 
callings,  knockings,  joinings,  buildings,  greetings. 

(Tick  -ing  the) :  Making-the,  having-the,  doing-the,  trying-the, 
keeping-the,  considering-the,  concerning-the,  giving-the. 

Par.  227:  Himself,  myself,  herself,,  yourself,  thyself,  oneself,  our- 
self. 

Yourselves,  ourselves,  themselves. 

Par.  228 :  Queenly,  womanly,  meanly,  friendly,  thinly,  grandly. 

Par.  229 :  Punctuality,  peculiarity,  stability,  sensibility,  prosper- 


1^2          PALMF.R'S  NEW  MANUAL  OF  SHORTHAND. 

ity,    incorrigibility,    incredulity,    feasibility,    suitability,    legibility, 
responsibility,  instrumentality,   instabil:'y,  regularity. 

Par.    230:     Kinship,    kingship,    lordship,    juclgeship,  apprentice- 
ship, chairmanship,  clerkship,  membership,  friendship. 


EXERCISE  XXXIV. 

IRRKGULAR  LOGOGRAMS. 

Par.  231  to  236. 

Object,  some,  important-ce,  impro-'f-J-ment,  only,  letter,  first,  most, 
»mst,  Just,  t/iis,  neither,  another,  yours,  theirs,  its,  pleasures,  matter. 

I.  I  have  yet  to  learn  the  object  of  his  visit.  2.  There  will  be 
some  improvements  made  in  your  city  this  year  I  am  told.  3.  The 
only  letter  I  received  from  him,  was  that  which  I  gave  you.  4.  The 
first  and  most  important  thing  to  consider  is  the  health  of  the  people. 
5.  You  must  do  just  as  he  tells  you,  or  he  will  send  you  away. 
6..  This  world  is  full  of  good,  if  our  eyes  are  open  to  see  it.  7.  He 
will  neither  take  nor  give,  so  we  can  do  little  with  him.  8.  He 
said  he  would  try  yours  another  time.  9.  Earth  and  its  pleasures 
will  be  a  matter  of  little  consequence  to  him  now.  10.  This  is  just 
the  improvement  I  have  wished  to  see,  and  am  glad  you  have 
made  it. 


EXERCISE  XXXV. 

THE  TICKS. 

Par.  237 :  After-the,  upon-the,  when-the,  if-the,  on-t'he,  as-the, 
of-the,  is-the,  in-the,  but-the,  from-the,  or-the,  at-the. 

Par.  238:  A-firm,  a-few,  a-great,  a-little,  for-a,  do-a,  was-a. 

An-advantage,  an-offer,  and-if,  and-for,  and-few,  and-the,  and-that, 
and-this,  and-his,  and-you,  and-how,  and-have,  and-is-a,  and-for-a, 
and-has-an,  and-take-a,  and-try-a,  and^when-a,  and-with-a. 


PALMER'S  NEW  MANUAL  OK  SHORTHAND.          143 


EXERCISE  XXXVI. 

OMITTED  CONSONANTS,  ETC. 

Par.  24!:  Anxious,  distinction,  distinctive,  sanctum,  sanctity. 

Par.  242:  Postage,  post-office,  postmark,  post-pone,  crest-fallen, 
mostly. 

Par.  243:  Messiah,  oases,  oasis,  idea,  eocene,  eolian,  iota,  Ionia. 
Ionic,  tiara. 

NOTE:  When  joining  certain  consonants,  it  is  sometimes  difficult 
to  form  a  hook  accurately,  as  in  the  words:  attainment,  atonement, 
assignment,  etc.  The  oivlines  for  such  words  will  be  sufficiently 
distinct,  as  a  rule,  if  the  hook  be  wholly  discarded.  See  last  two 
words,  line  6  p.  89. 

Par.  244:  Gazed,  grazed,  greased,  caused,  amused,  glazed,  paused, 
dazed,  pleased,  abused,  blazed,  amazed. 

Par.  245:  6^-ward,  /«-ward,  a«j'-body,  /^/-mighty,  «W<v--stand, 
y<7r-ward,  af/er-noon,  after-wards,  z/Wt'r-take. 

Be-cdme,  there-fore,  eve  ry-w  here,  some-whfre,  somc-hovv,  after-thought, 
some-thing,  "where-of,  no-where,  where-fore,  any-ivhere. 


EXERCISE  XXXVII. 

UPWARD  AND  DOWNWARD  L  AND  R. 

Par.  260:  Ailment,  alienate,  alkali,  allegation,  allege,  element, 
election,  elective,  elegance,  elm,  elocution,  illegal,  illicit,  illume. 

Long,  sling,  lung,  languid,  lank,  Lincolrt,  linger,  longer,  spelling, 
slang. 

Par.  261 :  Lucky,  look,  likely,  like,  lick,  leak,  lock,  luck,  leg, 
lag,  lug,  league,  log,  limb,  limber,  lime,  limed,  limp,  limy,  loom, 
liquor,  lacquer,  legal,  legalize. 

Par.  262  :  Foil,  file,  fail,  feel,  vail,  veal,  veil,  reel,  revile,  vial, 
trowel,  trial,  dial,  dual,  denial,  duel,  jewel,  towci. 

Par.  263 :  Polly,  valley,  volley,  folly,  follow,  chilly,  fellow,  lily, 
gully,  duly,  truly,  clearly,  coldly. 


144        PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

Mail,  meal,  mall,  male,  mole,  mule,  mill,  mull,  mile,  smile,  smell, 
small. 

Par.  264:  Harem,  hark,  horse,  hear,  here,  harm,  hearse. 

Par.  265 :  Ear,  ire,  ark,  our,  air,  oar,  arbor,  arc,  armor,  arrange, 
erase,  ere,  erection,  error,  arm,  army,  ream,  Rome,  rhyme,  rim,  rum, 
room,  remain. 

Arch,  awrite,  urge,  earth,  artist,  artistic,  Arab. 

Par.  266:  Ruthful,  rusk,  rush,  ruin,  ruffian,  rued,  rubber,  rowing, 
rousing,  robber,  roaring,  rival,  ripest,  rink,  rigorous,  revile,  revert, 
reversible,  revelry,  restrain. 

Sarah,  series,  serene,  sorry,  sorrow,  Surry,  story,  starry. 

Par.  267 :   Peer,   pair,  pour,  tear,  power,  car,   fear,  sneer,  shear, . 
share,  sore,  dare,  poor,  clear,  fair,  gore,  jeer.. 

Par.  268:  Emperor,  empire,  empiric,  empirical,  empiricism,  em- 
bargo, embark,  embarrass,  embarrassed. 

Prepare,  preparing,  fairy,  hurry,  cherry,  diary,  dreary,  tarry, 
curry,  Harry,  theory,  jury,  glory,  marrow,  zero,  carry. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.  145 


294.  All  that  is  contained  in  this  work,  up  to  the  present  page, 
treats  of  the  Corresponding  Style  of  Phonography,  which  is  a  brief, 
philosophic  and  legible  method  of  representing  all  spoken  sounds, 
though  more  strictly  applied  to  the  English  language. 

295.  The  Corresponding  Style  of  Phonography  is  a  method  by 
which  any  word  in  the  language   may  be  written,  with  from  three 
to  four  times  the  speed  of  longhand,  and  with  the  same  degree  of 
legibility. 

296.  This  style  is  designed  principally  for  correspondence,  mem- 
oranda, sermons  and  all  work  where  the  ordinary  longhand  is  em- 
ployed.     It  is  sometimes  called  the  "full"  style  of  Phonography, 
because  it  represents  every  sound   heard   in  words  that  are  written 
with  vocalized  outlines. 

297.  The  full  or  Corresponding  Style  of  Phonography  forms  the 
basis  upon  which  every  element  of  the  Reporting  Style  rests.     The 
importance  of    mastering    its   principles,   therefore,  cannot  be  too 
strongly  felt  by  the  student  who  intends  to  continue  his  course  into 
the  Reporting  Style. 

298.  There  are  four  general  principles  of  abbreviation  applied 
to  the  Corresponding  Style  of  Phonography  to  form  the  Reporting, 
namely :     Omission    of    Vowels,     Contractions,    Phrase    Writing  anil 
Omission   of  Unimportant    Words.     These    four  principles    may  be 
aptly  placed  under  one  grand    head,   namely :  SPEED,  all  having 
emanated  from  it. 

OMISSION  OF  VOWELS. 

299.  Thus  far  the  student  has  been  accustomed  to  writing  full- 
length  upright  and  sloping  characters  in  but  one  position,  namely  : 
on  the  lower  line,   and   writing  vowel  logograms,   horizontals  an  1 
half-length  characters  in  two  positions,  namely:  on  or  above  the 
line  of  writing.     In  the  Reporting  Style,  however,  three  positions 
are  recognized  for  all  strokes,  whether  single,  double  or  treble,  and 
also  outlines  of  words;  the  position  in  every  case  being  determined 
by  the  leading  or  accented  vowel  heard  in  the  word.     Outlines  or 


146          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

single  strokes  containing  first  place  vowels  :  as,  team,  type,  me,  my, 
etc.,  being  written  in  the  first  position.  Those  containing  second 
place  vowels:  as,  take,  make,  pay,  may,  etc.,  in  the  second  position. 
And  those  containing  third  place  vowels  :  as,  few,  screw,  view,  etc., 
in  the  third  position. 

300.  By  writing  outlines  and  strokes  in  the  three  positions,  as 
described  above,  all  the  vowels  in  any  word  may  be  omitted  with 
but  very  little,  if  any,  sacrifice  of  legibility. 

POSITION. 

301.  By  the  position  of  a  stroke,  is  meant  the  place  it  occupies 
with  reference  to  the  line  of  writing.     In  the  Reporting  Style,  as 
has  been  mentioned,  there  are  three  positions  for  all  strokes,  com- 
binations, etc.     When  single  line  paper  is  used,  these  positions  are 
indicated  as  follows  : 

ist  position  upright  and  sloping  strokes  are  written  above  line,  thus  : 

_\_\__  i  _________________  /  ...............  v.     (  r 

2d  position  upright  and  sloping  strokes  are  written  on  line,  thus  ! 

....\  __  _X  ............  |  .........        / 

3d  position  upright  and  sloping   strokes  are  struck  through  the 
line,  thus: 


1st   position    horizontal    strokes  are  written   above  the  line  the 
height  of  the  letter    /,  thus  : 


2d  position  horizontal  strokes  rest  on  the  line,  thus: 
3d  position  horizontal  strokes  just  below  the  line,    thus : 


When  double  lined  paper  is  used  (which  is  recommended  for  the 
beginner),  the  positions  are  indicated  as  follows: 

1st  position  upright  and  sloping  strokes  are  struck  through  the 
•upper  line,  thus : 


•  PALMER'S  NEW  MANUAL  OF  SHORTHAND.         147 

2d  position  upright  and  sloping  strokes  are  written  between  the- 
lines,  thus: 


" v, (. jZT.. .«,/„_„ 

3d  position  upright  and  sloping  strokes  are  struck  through  the 
vier  line,  thus: 

1st  position  horizontal  strokes  are  written  to  the  upper  line,  thus  : 


2d  position  horizontal  strokes  are  written  on  the  lower  line,  thus  : 

3d  position  horizontal  strokes  are  written  just  Mow  the  lower  line, 
thus; 


302.  Vowel  signs  and  half-length  strokes  are  written  in  position, 
as  follows: 

1st  position  upright  and  sloping,  just  below  the  upper  line. 

1st  position  horizontals,  same  as  full  lengths. 

2d  position  upright  and  sloping,  resting  on  the  lower  line. 

ad  position  horizontals,  same  as  full  lengths. 

3d  position  upright  and  sloping,.  just  below  the  lower  line: 

3d  position  horizontals,  same  as  full  lengths. 

303.  The  position  of  an  outline  is  determined  by  the  leading  or 
accented  vowel  of  the'  word    it  represents,  and  when  writing  its 
outline,  the  first  upright  or  sloping  stroke  always  gets  the  position,  thus  : 


When  writing  a  word  in  position,  all  the  consonants  of  the  out- 
line accommodate  themselves  to"  the  Jirst  -upright  or  sloping  stroke, 
thus: 


When  all  the  consonants  of  an  outline  are  horizontals,  the  out- 
line is  written  in  the  position  indicated  by  its  leading  or  accented 
vowel,  thus: 


148          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


304.  The  increased  speed  with  which  Phonography  may  be  writ- 
ten by  the  omission  of  vowels,  and  the  comparatively  small  sacri- 
fice of  legibility  resulting  therefrom,  will  both  surprise  and  delight 
the  student  who  has  faithfully  studied  the  Manual  up  to  this  point. 
Though  omitting   vowels  greatly  accelerates  speed  when  writing 
Phonography,  there  are  other  sources  of  brevity  from  which  can  be 
derived  schemes  for  the  promotion  of  speed,  when  writing  even  un- 
vocalized  outlines,  among  which  are  Logograms  and  Contractions. 

305.  LOGOGRAMS. — The  table  given  on  the  opposite  page  exhib- 
its a  few  of  the  most  frequent  words  in  the  language  represented 
by  logograms  in  the   Reporting   Style.     They  are  written   in  the 
three  positions  previously  explained,  according  to  their  leading  or 
accented  vowel.     In  this  table,  as  well  as  those  following,  the  line 
of  writing  is  indicated  by  a  dotted  line,  which  will  guide  the  stu- 
dent as  to  where  a  stroke  should  be  written. 

306.  In  the  rule  given  for  writing  outlines  in  position  (see  par. 
303)   it  was  stated   that  the  leading  or  accented  vowel  determined 
the  position  of  the  outline.     This  rule  is  not  absolute,  there  being 
the  following  exceptions : 

1st.  When  a  word  is  sufficiently  distinct  by  "its  outline  alone,  it  is 
written  in  the  second  position,  that  being  the  most  convenient. 

2d.  When  two  words,  containing  vowels  of  the  same  position, 
are  likely  to  conflict  in  meaning,  write  the  word  of  most  frequent 
occurrence  in  the  position  indicated  by  that  leading  vowel,  and  the 
other  word  in  one  of  the  two  remaining  positions.  See  Vocabu- 
lary, p.  151. 

307.  CONTRACTIONS. — On  page  150  is  given  a  list  of  words  whose 
outlines  are  abbreviated  by  giving  only  the  prominent  consonants 
that  are  employed  when  writing  the  full  outline.    These  are  termed 
Contractions,  and  the  outlines,  as  a  rule,  readily  suggest  the  words 
they  represent. 

PHRASING. — For  remarks,  see  p.  157.     Table,  p.  158. 
MISCELLANEOUS  BRIEFS. — p.  168. 


PALMER'S  NEW  MANUAL  ofr  SHORTHAND.         149 

soua^^**^**. 

Able 
About 
Advertise-d-ment 
Ago 
Appear 
Apply 
Approved 
At 
Aversion 
Away 
Because 
Belong-ed 
Brother 
By 
Comply 
,     Consequence 
Consequent 
Consequential 
Constituent 
Dark 
Deliverance 
Denominate-ion 
Derive 
Description 
Doctrine-al 
Dollar 
Down 
Duration 
During 
Each 
Either 
Eternal 
Ever 
Few 
Get 
Got 
Had 
Half 
Honored 
However 
Humored 
Hunger 
If 
I  magine-ary-ation 
Impossible-ity 
Inexperienced 
Influence 
Influenced 
Information 
Instructive 
Kingdom 

N      * 

I 

Large 
Measure 
Mercy 
Movement 
Much 
Myself 
Next 
Number 
Often 
Operation 
Organization 
Other 
Our 
Out 
Over 
Own 
Practice-d-cal 
ProVi4ential-ly 
Put 
Religious 
Sanction 
Sanguine 
Satisfaction 
Satisfy-ied-actory 
Several 
She 
Signify-ied-icant 
Similar 
Subject 
Surprise 
Thank 
Thee,  thy 
Theology 
These 
They 
Those 
Thou 
Though 
Through 
Thus 
Time 
Until 
Us,  use  (noun) 
Use  (•verb) 
Whichever 
While 
U'ithin 
Woman 
Women 
Wound 
Yield 

!           <?v 

^           ^ 

«v»                       0 

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x  V 

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150         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

8*1.  *  ««™to«, 

Acknowledge 
Acknowledged 
Admit-tance 

-7     -,    _fc. 

^—     -TT-, 

Mistake 
Mistaken 
Natural 

/" 

Advancement 

^A.     —  \ 

Never 

Aggregate 

i          __ 

/        —  ( 

Nevertheless 

Agriculture 

<"> 

o 

New 

Ambiguity 

(  

~f                       \ 

Notwithstanding 

Capability 

^S      ^- 

.._-          -^^               N  

Now 

Capable 

1 

Peculia'-ity 

Catholic-ism 
Celestial 

i    n  / 

^  v^_  \ 

Phono,  rapher 
Phonographic 

Challenge 

/ 

^ 

Popular-ly-ity 

Change-d 

Practicable-ility 

Chapter 

/       /        i 

Preserve 

Despicable 

/    \    >  — 

Probable-y-ility 

Destruction 
Destructive 
Determination 

i  \  \ 

V^-^x 

Proper 
Proscribe 
Prospective 

Determine 

. 

\       /    y\ 

Public-sh 

Develop-ment 
Disadvantage 

J     L   / 

X 

Rather 
Reform-ed-atory 

Displeasure 
Dissimilar 
Distmguish-ed 

J      K    IK 

s~</-*</^ 

Regular-ity 
Relinquish-ed 
Reluctance 

Emphatic 
Emphatical-ly 
Especial-ly 

-x  ^_    ^ 

^^\^ 

Represent-ed 
R  epresen  tation 
Representative 

Familiar—  ity 
February 

^__          V                    I 

A-H*  A, 

Republic 
Resemble-d-ance 

Forward 

^\     ^^ 

\ 

Respect 

Imperfection 

s—<\                     ^_  

si       XV   s\ 

Responsible-y 

Independent-ce 
Indiscriminate 

^^^       ^"^ 

\  /    / 

Revenge 
R  e  v  e  ng  e  f  ul-ly 

Indispensable 
Individual 

^         ^         ^J 

^^X   ,r^ 

Sanctify 
Simplify 

Influential-ly 

Something 

Instruction 
Intelligence 
Intelligent 

L       7      v 

O  3-^K 

Sufficient-ly 
Transcribe 
Transcript 

Intelligible-y 
Interest 

7     t    ^\- 

3—  ^     3  .."    v 

Transcription 
Transgress 

Irregular 

\ 

Understand 

January 
Justification 
Knowledge 

L  4    ^ 

csx'          v^5 

^p        a            --, 

Understood 
Universal 
United  States 

Legislature 
Liberal 
Magazine 

/7   *^  <• 

L    ^V  ^ 

Whatsoever 
Whenever 
Whensoever 

Manuscript 
Messenger 
Misrepresent 

--A-O^y^ 

^^  c 

Wheresoever 
Wherever 
Whosoever 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.           151 

—  • 

Abandon 
Abduction 
Ability 
Abolish 

>    }^    Nr' 

NU-^V 

Bargain 
Barley 
Barrel 
Befriend 

Abound 

•^/"^ 

N^  N/     \^ 

Behave 

Absence 

>l       ~-"5  —  ^st  —  o 

Below 

Abstain 

. 

Bench 

Abundantly 
Abuse 
Accept 

J           f 

>  •%^' 

Bill 
Black 
Blame 

Accident 
Accumulation 

—  ^  —  f  y^ 

V-.  "^o^^v^ 

Blaspheme 
Blunder 

Acense 

Book  seller 

Accustom 
Act 

^  ~1U  

\         ('~~\*  x 

Bottom 
Boundary 

Tr 

Address 

Breadth 

Ad  lit  re 
Adjourn 

_    / 

x       \      "N^ 

B'oach 
Broker 

Administer 

Brntal 

Admire 

•           / 

s~      ^\^s        ^^J 

Burn 

Admit 

t~>>  ~ 

~*t 

Bushel 

Adopt 

III        \ 

—  r      —  7      x-^v 

Cable 

Adventure 
Affection 

_L_U  —  V__ 

\     /  — 

Cage 
Caliber 

Affirm 

Capital 

Afflict 

<=v\^_^  \  / 

Si      c  \          x  1 

(  arpenter 

Agency 

1  ^~") 

A 

Carried 

Agreement 
Ambitious 
Ample 

=  —  "*     '  —  )         x 

-^   0  ^r 

Cashier 
Cellar 
Central 

Amuse 

i      / 

Certificate 

A  utter 



^N^                   ^  ^           -C 

Charm 

Animal 

"  —  ~&        ''^'''^ 

| 

Chiefly 

Announce 

Q      Q                           ,  B 

Cincinnati 

Apartment 
Approach 

5._^    ^\ 

/ 

^      °/^                      V 

Circulation 
Civilization 

Approve, 
Arise 

C-^  ^  —  ;  c  —  D 

Classification 
Climate 

Around 

^                       T> 

-* 

Collection 

Arrest 
Arrive 
Artificial 

^    xV  s\j 

S^-  -x,V^ 

Comparison 
Compel 
Complimentary 

Ashamed 
A-k 
Assessor 

2  1_  ^ 

^iX^—  5- 

Compromise 
Compulsion 
Conclusion 

Assign 

\                       1 

'°\         /         xA. 

Confirm 

Assume 

\  K°  — 

\  —  L  —  ii  •0/^^ 

Conjecture 

Atlantic 

f   . 

I          ^>- 

conservative 

Attention 

•           ,       -_      ^ 

;        c  —  .. 

Consuming 

Available-}' 
Awkward 

1 

Convict 
Corruption 

152           PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

Crime 

Fatal 

Cruelty 
Cultivate 

HI21  ,_/1     "X 

t    S  v- 

Favor 
Favored 

Dally 
Dauiage 
Dashed 

r    ^    i, 

.^_v^  v^ 

Fearlul-ly 
Fervent 
Finance 

Dealer 

/ 

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Fire 

Deceive 

rx"~~\ 

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Fla'h 

Decern 

II             b             <J^ 

T       X^i/          ^X^^ 

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Decorative 

v_           », 

. 

Forsake 

Defence 
Delegation 

1  —  1      1-0      LD 

VS^_V^"          ^ 

Fortunately 
Forward 

Demonstrative 

* 

Found 

Denunciation 
Desertion 

<?          ^  —  1              ^^\ 

v.._-_!V-x  _.!^ 

Frame 
Freedom 

Designation 

I         <-S               ^ 

Cv 

Fn  sher 

Destroy 
Detective 

U-?        1       ,L 

°\           ^      ~-..:. 

Friend 

Frieze 

DiametiT 

V. 

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Funny 

Diminish 

1                   11 

\^_^^     I          /'        <:rsN. 

Furiously 

Directly 

i---"*1-*       *^^       /* 

\ 

Further 

Disclaim 
Discount 

i_  j,    u 

_f          /               / 

Gaily 
Generous 

Disgrace 

f--          -^"^fc.          v*                V 

<~?           f" 

Gently 

Dishonor 
Disorder 
Dispatch 
Displacement 
Dispose 
Divorce 

L  S  S 
!w  s  .  *! 

.„.„..  ^r  °7 

German 
Ghastly 
Gladden 
Gloom 
Gloriously 
Gorgeous 

Drink 

^. 

Gracious 

Drop 
Drug 

L_  i^  i_ 

^     '   ^- 

Graduate 
G  rapine 

"Eagerly 

x—  \^— 

e__ 

G  rasp 

Easily 

T—         /               *    2  

\            "1                     So 

Gratitude 

Economlcal-ly 

Grievously 

Editor 

=r-^»^l       C-J               .—7 

Guarantee 

Effect 
Effort 

^ 

Guiltless 
Gush 

Egotism 

S***'                    **°*         S*' 

Habit 

Ejaculation 

1^       /         /"" 

g          ._  _      V—J 

Handlul 

Electric 

<f~~*     f    j 

.      >"\»./t 

Harmless 

Eminence 

^y^ 

jd        i/^1      p 

Harsh 

Encourage 

•  —  •».  -^—P^"^/            0 

6                 G                6 

Harvest 

Enfranchisement 

c4 

Haste 

Enterprise 

.       . 

Ht                 ./ 

Hazardous 

Erratic 

~-^\o    /\           ' 

^*        6 

Heaven 

Escape 

^ 

Heroic 

Esteem 
Exasperate 
Excursion 

bL-^     _<r- 

}     /L   ^ 

Hesitation- 
Hidden 
Highway 

Expensive 
Explain 

-^Vo—  \—  s 

/  —  '  ..^  V 

Hinder 
Hitch 

Exposition 

^v. 

><     si    * 

Hoarsely 

Extemporize 

—  r  s  —  "i    ^ 

e          9        f 

Horrihle-f 

Extra 

llorrity 

Exultation 

^. 

Horror 

Failure 
Falihful-ly 
Fancy 
Fascinate 

^r\  \   v, 

,   Aj 

T^ 

Hospital 
Hourly 
Hurricane 
Ice 

Fasten 

\^^       ^^—  *      ^^- 

i     ..  —  ^      <^g- 

Iced 

Fastened 

Icicle 

PAL>5ER'S   NEW    MANUAL   OF    SHORTHAND.                153 

Idleness 

Kindness 

Idler 
Ignominiously 

I*      I    —r 

^=L^-^^~ 

Kleptomania 
Knit 

Ignorance 
1  Uesal 

Labor 
Latitude 

Illegitimate 

"ISsL  j        f 

/^N          n      —  j^^;- 

Laugh 

Illu  trat<- 

^    r\ 

r\J  ^  s 

Lavishly 
Lawyer 

Immense 
Immovahle-y 

*~*~* 

nr 

Leather 

Impair 

—  . 

J\       1         /"         \ 

Lecture 

impanel 

«L  /^^/-'-£. 

fit       }     I 

Legacy 

Impatient 

x^ 

Legal  ism 

lnij)etus 
Implicate 

*~\  ^^~ 

C~^  ^7\  ^ 

Legibility 
Legislative 

Implicit 
Implore 
Import 
Imposition 

~~^^      ^~^v            ^^y 

(^      C     G 

Legitimately 
Lengthen 
License 
Lieutenant 

Imprint 

•~&    -—^  '~<Nx<^ 

^L  _    C    ^ 

Lightly 

Impure 

Listener 

Inactive 
Inadvertent 

__^_±^v->^Ir- 

C/^7              /^  —  ^" 
rt— 

Lithograph 
Localization 

Inattention 

^/  — 

Locomotive 

Incapacity 

—  I     —  '  —  "x. 

X     -\      /7      x^ 

Logic 

Incessant 

kj?             ^P^Q, 

Louely 

Incident 

1 

Lonesome 

Inclose 

p              v__t_o            '_ 

/^~^           •  —  - 

Loom 

Increase 

"5^ 

Lovely 

Indefinite 
Indicate 

^^-°    ~~\^     •  — 

rv  <"  £__ 

Lowered 
Loyally 

Indirect 

^ 

Lnckiest 

Indulge 
Inf-mous 

H.    r-v_ 

r~  r^  r~ 

Lucrative 
Luxurious 

Inflict 

/ 

Machine 

Injury 
lunoct-nt 

~v     *-y  ^±- 

C/                  ~*^^*                      {^ 

Madam 
Magistrate 

Insist 

i 

Malicious 

Insolence 
Inspect 

.J_   /• 

/•  —  •"/  &                       ..            I 

Malignant 
Manage 

Instant 

Manifest 

Insufficient 
Intelligent 

••—             j 

~~\z,s~s1  -^/ 

March 
Marriage 

Intention 

^_^                     

Marvelous 

Interest 

f      -v 

^>sj  -—         ^        (_ 

Masculine 

Interrupt 

"        i 

Malhematic 

Intimate 

Matrimony 

Inventor 

•  1           v^_>^  ^r           ^^, 

/  ^^,</ 

Mature 

Irresolute 

""*              "                   ^ 

*-'^r~* 

Mayor 

Jarred 

^~~^ 

Mechanic 

Jasper 

/         L       / 

^  ^               ^v.^ 

Medicine 

Jealous 

'         ^\ 

Medium 

Jostlinr 

/               n 

p 

Memorize 

Journal 
Judgment 

4r    <L      i. 

^^^-v^Vw^" 

Menti  ned 
Mercantile 

Judicious 

^^y1^                           0       

Merely 

Juncture 

f              f~J\            K 

^^/l/--4 

Meritorious 

Justify 

-*>                       '              ^ 

Metpllic 

Ka  sas 

/-»                                                    ^v^ 

Metaphvslc 

Keen 

^ 

x^^, 

Method' 

Kentucky 

'^ 

Mi'lnight 

154 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


Minister 

Minute 

Miracle 

Misbehave 

Miserable 

Misplace 

Mispronounce 

.Misunderstand 

.Modei  a 

Modify 

.Modulate 

Moment 

Monopolize 

Monster 

Month 

Moral 

Moreover 

Mortal 

Mortified 

Motive 

Multiply 

Murmur 

Mutilate 

Mysterious 

Mystify 

Mythical-ly 

Mythology 

National 

Native 

Nearest 

Needle 

Nefarious 

Neglect 

Nerve 

Neutral 

New»p  .per 

Nominal 

Nominate 

Nouseiue 

Northern 

Notice 

Notify 

Nourish 

Noxiou* 

Numerous 

Obedience 

Obligation 

Oblige 

Oblivious 

Obscure 

Observation 

Observer 

Obstinate 

Obstruct 

Obvious 

Occupancy 

October 

Odious 

Offender 

Officer 

f'ftenest 

Oldest 

Ominous 


^-  /t      ^ 

^  —  "         ~ 


Onward 
Opening 

Opportunely 
Oppressive 
Orchestra 
Ordinary 

Organic 

Originator 

Ostentatious 

Otherwise 

Overcame 

Overflow 

Overlook 

Oversee 

Overstep 

Overthrow 

Overture 

Oyster 

Pacific 

Package 

Painter 

Paler 

Palpitation 

Panic 

Paper 

Paralysis 

Pardon 

Parliament 

I' arson 

Partaken 

Partial 

Partner 

Patent 

Patience 

Patronage 

Pattern 

Pausing 

Payable 

Peaceable 

Pedestrian 

Pencil 

Pei.etrate 

Penitent 

Pensive 

Penurious 

Perceive 

Perchance 

Perform 

Perfume 
Perilous 
Period 

Peri«h 
Perjure 
Permission 
Perpetrator 
Perplex 
Persecution 
Persevere 
Persistent 
Personal 
Pertinence 
Perth- 
Petit  larceny 


PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


155 


Pharmacy 

Philadelphia 

Phoenician 

Physical-ly 

Pll.ar 

Pinch 

Placed 

Plaining 

Plaiik 

Plastic 

Platform 

1' lay  mate 

Pleader 

Pleasant 

Plucky 

Plumber 

Plunder 

1'lural 

Pointing 

I'oison 

Policeman 

Ponder 

Popular 

Portable 

Posing 

Potent 

Poured 

Powerful-ly 

Prai-ed 

Preacher 

Precarious 

Precedence 

Preciuct 

Precious 

Precisely 

Preclude 

Predict 

Predominate 

Preier 

Prejudice 

Prematurely 

Premeditate 

Prepossess 

Presence 

Presently 

Presidency 

Presume 

Presumption 

Pretext 

Prevail 

Prevent 

Primary 

Primitive 

Printing 

Prison 

Private 

Problem 

Procession 

Procured 

Prodigal 

Profane 

Proffer 

Proficient 


f 


rofound 
Progressive 
Prominent 
Promptly 
Pronounce 
Prophecy 
Proposition 
Prosper 
Protect 
Protestant 
Protract 
Proud 
Provincial 
Provision 
Provocation 
Prudence 
Pulpit 
Pulverize 
Pungent 
Punish 
Pupil 

Purchase 

Purify 

Purloin 

Pursue 

Puz/.le 

Pyrotechnic 

Qua'ce 

Quarter 

Quaver 

Quicker 

Quickly 

Quite 

Radiant 

Radical 

Railroad 

Random 

Rascal 

Realization 

Rebuttal 

Recojrnize 

Recover 

Redeemer 

Redundant 

Reflect 

Re'ruined 

Refutable 

Reject 

Relentless 

Reliable 

Relief 

Remain 

Remuneration 

Repleiiisu 

Restrain 

Reverence 

Revolt 

Robbery 

Rudimentary 

Rumor 

Sachel 

Sacrament 

Sagaciousness 


'•                                                                                                                                                                                                                            ./- 

156          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

Salvation 

Tantalize 

Sanitary 
Satiri/ed 

Co  *~^l/    1^ 

^    ^  K 

Tariff 
T..steful-ly 

Scafl'o  <1 

Taxation 

Scandal 

n 

1                                 1 

Technical 

Scanned 

V_          o-V              0^3 

...         g  — 

Tedious 

Scarcely 

t 

Telesrraph 

Scientific 
Scrupulous 

'"T'L   srrx^ 

"_=    [L-    U  —  ^ 

Telephone 
Tern;  er 

Sec  uMo'i 

V 

Temporal 

Select  on 
Self-importance 

~}                             0 

1                  I          9       1 
'^>/      ***S        J— 

TemporlM 

Tenant 

Self-possessed 

~~^> 

Termination 

Sensational 

_      O. 

1           L       f 

Testify 

Sentenced 

^oNQ          IT          Q-^z: 

—  ~~^    "^.    \  /< 

Thenceforth 

Sentiment 

\ 

,                   v/v 

Thinnest 

Sepulcher 
Settlement 

^       %_           t^ 

.^_       ^         I/"" 

Thrift 
Tournament 

Sham*  ful-ly 
Sharp 
Shiftless 

\           J            ^ 

J    }    K 

Transient 
Treacherous 
Triumphant 

Shiver 
Shorthand 
Shoulder 

J^          1         j/1 

I 
Ul                   1    x  
V-r     K~ 

Trustworthy 
Tumult 
Tyranny 

Shuffle 

Ultimately 

signature 
Simultaneous 

J     ^\      e~^-ff 

^/"-  —  S-    v_^->, 

Unacci  ptable 
Unanimous 

Sincere 

—     .- 

^ 

Uncertain 

Skeptical-ly 
Slander 

^L.  °-%      rx 

-J^-'     ^R_,         >^ 

Undersign 
Underwent 

Smolder 



Unfaithful-ly 

Solicitor 

t              S^l 

•N  *  -V 

Unfortunate 

Somber 

q~J      6l       <r"  —  ^ 

I               V~7?; 

Unfriendly 

Spasmodical-ly 
Speculate 

Q            «              ^ 

L- 

Unsociable 
Unworthy 

Spiritua.ist 

^!T5__  ^_ 

^^          x^^^/V          ^ 

Usurped 

Standing 
stealthy 
Sternest 

fl 

\^     ^_  ^^      Q  -           V^^ 

J 

Vacancy 
Vaccinate 
Vanish 

Storm 

^—s 

Vari"iislv 

Strange 
Strictly 

•^v^  ^    iC 

v^6  ^  ^^ 

Vegetable 
Veiierable-y 

Structure 

--,          \ 

Ventilation 

Stumble 
Stupendous 

l^    ^r   ^ 

Vi                 W                >o- 

Venture 
Vindicate 

Subsistence 

Virtuous 

Suffer 

"?              WN          ^  —  ^i 

^            V^            i^^ 

Vital 

Sunday-school 

Np            1              L 

)             1 

Voluntary 

Superficial 
Superiority 

,X7  J*      ^ 

Warm 
\>  ash 

Superstitious 

•5            Nr 

1 

Water 

Supplement 
Surgical 

Surmise 

V,  4_  •< 

^\-Sp  C 

Wherefore 
Wilder 
Wilson 

Susceptible-y 
Symbolic 
Syinputhetieal-ly 

^^"a. 

^  </  /~7 

Worldly 
Wor-^t 
"Wrench 

Syndicate 
Synonymous 
bystematical-ly 

cu^                           u 

\^  r-    c 

Xenia 
Yellow 
Yes 

C  

Talent 

Oy  —       \  - 

Yonder 

Tamer 

. 

y 

Zeal 

Tangent 

Zero 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          157 


PHRASEOGRAPHY. 

308.  In  Phonography,   several  words   may  often  be  united  a?,d 
still  be  as  legible  as  when  standing  alone.     This  practice  is  called 
Phraseography,  and  gives  great  assistance  to  the  writer  in  following 
a  rapid  speaker. 

309.  The  general  rule  to  be  observed  when  phrasing  is,  to  write 
the  first  word  in  its  own  position,  and  to  let  the  rest  of  the  phrase 
accommodate  itself  to  it;  but,  when  the  first  word  is  a  first-place 
horizontal,  half-sized,  or  vowel  logogram,  it  may  be  slightly  raised, 
or  lowered,   to  suit  the  position  of  a  following  logogram  written 
above,  on  or  through  the  line. 

310.  In  phrasing,  the  loop  st  may  sometimes  be  contracted  into 
a  simple  J  for  such  phrases  as  :  Must  do,  Must  have,  Must  not.    See 
table,  p.  165. 

311.  The  phrase  ARE  NOT  is  expressed  by  the  upward  or  down- 
ward r  halved,  with  the  final  «  hook,  that  form  being  chosen  which 
is  most  convenient  for  joining  with  other  words.     When,  however, 
its  use  is  optional,  the  upward  form  will  be  found  most  convenient. 
See  table,  p.  159. 

312.  A,  AND  may  sometimes  be  omitted  in  phrasing  without  dan- 
ger of  illegibility.     In  such   (a)   case,  In  such  (a)  way,  More  (and) 
more.     See  table,  pp.  164  and  165. 

313.  His,   IS,   when   preceding  or  following  words  written  with 
the  s  sound  is  expressed,  by  writing  the  circle  twice  the  usual  size. 
See  table :  All  this  is,  And  this  is  the,  As  has-his,  As  is  the,  As 
soon  as,  As  this  is,  Does  his,  etc. 

314.  The  List  of  Phrases  commencing  on  page  158  are,  for  the 
most  part,  logograms  and  simple  words  joined,  and  should  be  writ- 
ten by  the  student  at  least  twice.     By  so  doing,  a  great  many  will 
be  remembered  and  many  more  suggested.     For  a  briefer  style  of 
Phraseography,  see  p.  168. 


s««^«. 

Z? 

A  first 

I 

all  this 

t 

and  is  then 

7 

a  general 

I 

all  this  is 

t 

and  is  this 

X* 

a  little 

1 

all  we  do 

£ 

and  is  this  the 

S< 

above  the 

V 

all  we  have 

t 

and  is  this  the  way 

_v- 

after  a  —  an 

? 

all  which  is 

1 

and  it 

.._^._ 

after  such  a 

^ 

all  will 

"L 

and  it  is  not 

__y. 

after  that 

^2^ 

all  will  be 

•7 

ai  d  the 

~V" 

—V-, 

after  this 
after  which 

_p 

all  yours 
among  his 

\ 

I 

and  them  —  they 
and  therefore 

after  yours 

—  « 

among  the 

and  there  they 

all  have 
all  his  —  is 
all  his  own 

7 

among  us  all 
an  advantage 
an  only 

1 

t 

Jo 

and  there  was 
and  this 
and  this  is  the 

^n_ 

±^L 

all  its 
all  men 

-*- 

and  a  —  an 
and  accordingly 

X 

and  we 
and  we  do 

1 



all  might 

-0 

and  as 

V 

and  we  have 

"  —  - 

all  my 

•7° 

and  as  the 

T 

and  we  think 

r 

all  such 
all  that 
all  that  may 
all  that  you 

all  think  so 
all  think  you 

I 
J 

V 
X, 

T 

and  do  you 
and  generally 
and  have 
and  have  you 
and  he 
and  is  he  —  the 

\ 

and  we  think  so 
and  we  think  that 
and  we  were 
and  when  a 
and  when  he  —  the 

t_ 

j 

^, 

J 

^ 

Jl_ 

^ 

and  when  he  was 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          159 

iL. 

and  when  his 

-v- 

are  you  going 

~r 

as  to  this 

^ 

and  when  is  this 
and  when  it 
and  when  that 
and  when  they 

0. 

are  you  sure 
as  a 
as  far  as 
as  good  as 

-r- 
c 

as  to  your 
as  usual 
as  well  as 
be  able 

^-t 

-t 

b* 

^t 

and  when  this 

* 

as  good  as  the 

\ 

be  believed 

7 

and  which 

^ 

as  great  as 

%-* 

be  careful 

7 

and  which  is 

O 

as  has  —  as  his 

s/~ 

be  willing 

A 

and  which  some 

x, 

as  he  —  as  the 

L 

before  a  —  an 

7 

and  which  you 

^> 

as  he  has 

V 

before  he  —  the 

Z/ 

and  which  you  are 

"V 

as  I  have 

V— 

before  he  could 

TT 

and  which  you  will 

/o 

as  is  the 

^ 

before  he  knew 

7 

and  who 
and  will  you 
and  with  a 
and  with  such 

as  long  as 
as  many 
as  soon  as 
as  soon  as  they 

-v 

before  that 
before  there 
before  there  can 
before  there  is 

Q_P 

7 

^ 

and  with  the 

,0 

as  the 

_JL_ 

before  this 

1 

and  with  this 

c 

as  they 

„ 

before  you 

S~ 

and  you  wil. 

C 

as  they  were 

iX 

before  you  ara 

_*~- 

any  more 
any  one 
any  thing 

c 

6 

as  this 
as  this  is 
as  this  is  the 

L 

before  you  can 
before  you  make 

but  a. 

—  <_- 

JT^l 

~^ 

any  way 

^ 

as  this  is  the  way 

<-* 

but  can 

"*"•'" 

are  not 

—  *_ 

as  to 

L- 

but  can  you 

' 

are  the 

0  

> 

as  to  the 

^ 

but  one  —  when 

i 

t 

160         PALMER'S  NEW  *;A.\UAL  OF  SHORTHAND. 

c^ 

but  only 

"^ 

can  not  be  said 

...hL_ 

did  you  get 

__j>_ 

but  sure  —  ly 

"N 

can  not  be  sure 

J 

do  not 

_f_ 

but  that 

"^  — 

can  not  give 

(J 

do  not  think  so 

-tr 

but  that  is  not 
but  the 

_^ 

could  be 
could  have  been 

( 

do  not  think  that 
do  such 

-4- 
_^ 

but  this  is 
but  whenever 
but  would  be 
but  would  not 

7E 

could  have  seen 
could  have  shown 
could  not 
could  not  be 

I 

L_ 

do  they 
do  this  —  those 
do  you 
do  you  go 

X 

but  you  are 
but  you  will  be 

~T 

could  not  do 
could  not  have 

1^" 

do  you  mean 
do  you  regard 

^v 

call  for 

—  £ 

could  not  say 

k 

do  you  remember 

^T 

call  them 

could  not  show 

J 

do  your 

r 

call  your 

—  _-> 

could  now 

I 

does  a  —  an 

x 

called  for 
can  be 

T" 

could  they 
could  they  have 

^ 

does  as  much 
does  his 

can  be  done 

_V 

could  you 

L 

does  not 

:> 

can  be  said 
can  do 

( 

dear  friend 
dear  madam 

4 

does  not  think 
does  not  this 

. 

can  have 

L 

dear  sir 

ct-~ 

does  something 

_^ 

can  never 

j 

did  not 

{ 

does  that 

X, 

can  not  be 

J^t, 

did  not  finish 

f 

does  that  wmck 

•v_ 

can  not  become 

_v 

did  not  have 

a 

does  the  —  he 

"V 

can  not   be  im- 
proved 

JU. 

did  not  know  that 

k 

does  the  man 

"^ 

can  not  be  made 

___ 

did  you 

u 

does  the  matter 

T 

1 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          soi 

does  this 

v^ 

for  the  man 

_ 

get  the 

•£ 

does  your 
every  man 

S 

for  themselves 
for  this 

T 

get  themselves 
get  us  the 

•x 

every  one  thought 
every  part 

\ 

for  this  is 
for  which 

—i 

give  a  —  an 
give  me 

—  7— 

X. 

every  thing 

S 

for  which  he  —  the 

_ZL 

give  that 

"V 

every  where 

VM/ 

for  you  are 

7 

give  the 

\ 

for  a 

v_ 

for  you  may 

1 

give  them 

S 

for  he  is 

y 

for  your 

~d 

give  themselvss 

i» 

for  he  was 
for  his  —  us 

r 

for  your  honor 
for  your  sake 

~l 

give  them  the 
give  this 

v^_ 

for  his  own 

°^ 

from  every 

~l 

give  this  the 

V 

for  it 

*$ 

from  that 

_7?L 

give  us  the 

V 

for  it  is  said 

~s 

from  that  day 

-^. 

give  us  time 

yr 

for  such 

n 

from  the 

B 

gives  a 

X 

for  such  as  are 
for  such  as  could 

3 

from  them 
from  themselves 

—  tf— 

gives  me  —  my 
gives  them 

t 

V 

| 

for  such  as  were 
for  such  as  would 
for  such  was  the 

i 

from  this  day 
from  this  time 
from  you 

—  D 
-P 

gives  us 
gives  us  the 
God  is  good 

4, 

for  that 

_^ 

gave  a  —  an 

r 

God  is  just 

s 

V 
S 

S 

1    ___  ^___ 

for  that  is 
for  that  is  not 
for  that  is  the 
for  the  —  he 

—  i 

—  D 

gave  his 
gave  us  a  —  an 
get  a  —  an 
get  his 

-7 

God  is  willing 
got  his  —  us 
got  the 
got  their 

J 

1 

162         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

1 
~U 
T 

got  this 
got  time 
got  your 

i 

have  you  made 
have  your 
he  can 

I 

r 

he  said  to 
he  said  that  le 
he  will 

~~Y~- 

great  deal 

A          

he  can  have  the 

^x 

he  will  have 

"~S 

great  favor 

S 

he  could 

6 

he  would 

~v 

has  been 

*~ 

he  could  not 

^ 

he  would  be 

T" 

has  done 
has  he  been 

£. 

he  could  not  have 
he  gave 

b 

he  would  have 
he  would  not 

o 

has  he  made 
has  he  made  you 
has  his 

i  0 

he  gives 
he  gives  me 
he  gives  them 

JU 

O 

he  would  not  have 
his  God 
his  is 

/" 

has  little 

_<.-_. 

he  has  been 

^ 

his  usual  way 

rs 

has  made 

i. 

he  has  not 

*/ 

how  are 

,«  

has  many 

-^ 

he  has  not  been 

*>* 

how  are  they 

_^ 

has  not  been 

Y 

he  has  not  had 

*s 

how  are  we 

^- 

has  not  taken 

—  

he  is 

*-* 

how  can 

V 

have  been 
have  done 
have  said 

^ 

he  is  in 
he  is  not 
he  is  only 

A  — 

how  can  you 
how  could 
how  could  we 

Jk.. 

V, 

have  seen 

«-> 

he  may 

^ 

how  could  you 

S 

have  sent  them 
have  shown 
have  them  —  they 
have  thought 
have  us  —  his 

^~^ 

he  may  be 
he  might 
he  must  be 
he  said 
he  said  little 

r 

S" 

how  could  your 
how  many 
how  must 
how  will 
how  will  they 

T 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          163 

^ 

how  will  you 

Vj, 

I  have  said 

-4 

I  shall  give  the 

\*»     •* 

I  am 

v^ 

I  have  seen 

<£— 

I  shall  make 

.nr_ 

I  am  glad 

^ 

I  have  shown 

<£ 

I  shall  now 

EZ 

I  am  ready 
I  am  sorry 

> 

I  have  such  a 
I  have  taken 

1 

I  shall  say 
I  shall  take 

~y 

I  am  sure 

/ 

I  generally 

\ 

I  suppose  that 

^—' 

I  am  the 

/ 

I  just 

t 

I  think 

1 

I  did 

^r 

I  may  as  well 

5 

I  think  he  —  the 

1 

I  do 

v-^ 

I  may  be 

t 

I  think  so 

I 

I  do  so 
I  do  think 
I  fear 

^ 

I  may  be  sure 
I  must 
I  must  be 

1 

i 

I  think  that 
I  think  they 
I  think  you  may 

-X 

I  felt 

f  • 

I  need  not 

L^ 

I  think  you  must 

•v, 

I  find 
I  forget 

ZJ 

I  perceive 
I  promise 

± 

I  thought 
I  thought  that 

%. 

VyO 

I  have  also 

s 

I  remember 

/ 

I  thought  your 

X 

I  have  been 

s 

I  remember  you 

JV 

I  trust 

V_ 

I  have  called 

^N 

I  remember  your 



I  will 

VA 

I  have  left 

_HL 

I  seem 

:£L 

I  will  do 

V/^ 

I  have  little 

J 

I  shall 

_±L 

I  will  not 

V, 

I  have  made 

^ 

I  shall  be 

_.^I_ 

I  will  not  say 

v_ 

I  have  no 

/ 

I  shall  be  glad 

j£l 

I  will  try 

N^ 

I  have  now 

-^ 

I  shall  come 

i 

in  a 

V, 

I  have  only 
I  have  received 

^ 

I  shall  do 
I  shall  go 

."rr 

in  a  little 
in  any 

164          PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

_rf_ 

in  his 

J*±L 

is  not  only 

IH 

it  is  not  a 

"1 

in  it 

^L 

is  safe 

^ 

it  is  not  only 

.——•. 

O-' 

L 

it  is  not  the 

^ 

in  such  (a)  case 

a. 

is  sent 

*-r 

h 

it  is  no  use 

X 

in  such  (a)  way 

c^ 

is  soon 

u 

it  is  now 

V 

in  such  words 

/° 

is  such 

y\ 

it  is  ready 

*-t 

in  that 

L. 

it  can 

K 

it  is  said 

J2L 

in'the 

s 

it  can  be 

[ 

it  is  so 

~"t_ 

in  the  dark 

I—, 

it  can  have 

^-b 

it  is  sometimci 

*t 

in  them 

k 

it  could  be 

» 

it  is  that 

*% 

in  themselves 

J^ 

it  has  been 

j> 

it  is  the 

^ 

in  this 

K 

it  has  not  been 

\ 

it  is  thought 

7 

in  this  life 

I 

it  is 

it  is  thought  that 

W 

in  which 

Ir 

it  is  a 

( 

it  is  true 

^u 

in  which  he  now 

i-. 

it  is  again 

V 

it  is  worse 

1 

in  which  their 

n 

it  is  also 

y~ 

it  is  wrong 

"i 

in  which  way 

lr^ 

it  is  always 

^ 

it  is  your 

T 

in  your 

b 

it  is  as  —  his 

^~ 

it  may  as  well 

^ 

in  yourselves 

Jb 

it  is  as  well 

u 

it  may  be 

a. 

i 

1          -. 

.  

is  a—  an 

tr** 

it  is  certain 

l-« 

it  may  be  as  well 

O 

is  as  —  his 

L 

it  is  difficult 

u. 

it  may  be  made 



is  he  —  the 

L 

it  is  done 

L 

it  may  not 

Q^ 

is  not 

K 

it  is  important 

k 

it  may  not  be 

«-l 

is  not  a 

/ 

it  is  just 

k 

it  may  not  have 



is  not  he  —  the 

L 

it  is  not 

it  might  as  weil 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          165 

U 

it  must 

^_ 

let  us  take 

—7 

must  not  say 

U^ 

it  must  be 

c~ 

longhand 

~1 

my  dear  sir 

k 

it  seemed 

q 

long  time 

IZi 

my  friend 

k 

it  seems 

~ 

made  the 

IZ!±!. 

my  opinion 

k) 

it  seems  so 

_^ 

made  use 

_n 

need  not 

l\ 

it  should  be 

~-C 

may  as  well 

.  —  =, 

no  account 

k, 

u 

it  should  have 
it  should  not 

^ 

may  be 
may  be  as  well 

^ 

no  man 
no  more 

K 

) 

i 

6 

it  should  not  be 
it  should  not  have 
it  surely 
it  surely  is 
it  was 
its  worth 
just  as 
just  as  long 
just  been 
know  that  he 
know  where  it  is 
knows  that 
less  than 

- 

may  be  certain 
may  be  made 
may  have 
may  not 
may  not  be 
may  the  —  he 
may  they 
may  this  —  those 
may  you 
might  not 
might  seem 
more  (and]  more 
must  do 

-  —  = 

no  occasion 
no  such 
no  thank  you 
not  a  —  an 
not  only 
not  that 

7*"  "• 

j. 

^L. 

> 

f 

i 

of  advantage 
of  course 
of  God 
of  his 
of  his  own 
of  importance 

^ 

-^ 

•± 

— 

-TL. 

^ 

let  us  be 
let  us  leave 

^ 

must  have 
must  have  the 

ir—  * 

of  some  kind 
of  such  a  —  an 

2° 

^ 

let  us  now 
let  us  review 

^5 

must  have  this 
must  not 

•> 

of  the 

of  them 

i 

I 

1 

1  66         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

I 

of  themselves 

J 

so  as 

5^ 

there  should  be 

s 

of  the  way 

) 

so  that 

I/ 

there  you  are 

I 

of  this 

so  then 

l^ 

there  you  may 

I/ 

of  which  you  are 

so  they 

( 

they  have 

£ 

of  your 
of  yours 

\    s 

£ 

so  you  are 
such  a  —  an 

k 

they  have  the 
they  may  be 

g- 

s- 

of  yourselves 
on  a  —  an 
on  account 
on  the 

£ 
f 

such  as 
such  may  be 
such  was 
sure  way 

f 
L, 

they  that 
they  think 
think  you  are 
this  can 

JL 

< 

on  this 

L. 

take  his 

G 

this  is 

/ 

on  which 

1 

take  place 

£-> 

this  may 

c. 

only  a  —  an 
enly  he  —  the 

Lo 

take  your 
takes  his 

t 

this  will 
to  a  —  an 

1- 

only  those 
or  a  —  an 

.„/- 

tell  us  your 
tell  your 
tells  them 
that  is  so 

to  do 
to  have 
to  have  the 
to  him 

1 

s 

present  day 
say  so 

^ 

^r 

say  to  them 

-^LL 

that  shall 

v  

to  make 

<i 

shall  be 
shall  be  certain 

<> 

that  the—  he 
that  we 

N.            

to  many 
to  our 

._.!  — 

y^ 

shall  be  sure 



that  will 

V-N 

to  some 

i- 

shall  not  be 
should  be 

V 

Y 

there  are 
there  can  be 

• 

to  such 
to  take 

7 

* 

should  he  —  the 

there  is 

y 

to  the 

PALMER'S  NEW  MANUAL  OF  SHORTHAND.          167 

^ 

to  them 

\ 

we  fear 

_,__. 

who  would 

-^— 

to  think 

we  take 

^^ 

will  be 

f 

to  those  who 
to  which 
to  which  you  are 
to  which  you  will 
to  your 
too  great 

s 

9 
_____ 

we  think 
were  a  —  an 

6 

with  advantage 
with  his  —  us 
with  the 

with  which 

with  which  you 
are 

with  your 

f 

what  are 
what  are  the 
what  for 

17 

^ 

.C 

too  little 
too  many 

*~^ 

what  may  be 
what  was 

would  be 
would  come 

} 

^L 

-~7 

*^ 

—  T" 

too  much 

Z 

whatw 

>- 

would  go 
would  have 
would  not  be 

^ 

under  that 

*t 

when  they 

^ 

^ 

upon  the 

L 

which  a  —  an 

_!__ 

would  say 

> 

upon  which 

^ 

which  can  be 

X 

would  you 

^v- 

very  certain 

^ 

which  he  —  the 

~/ 

you  are 

-v 

very  little 

^ 

which  may 

^_. 

you  can  be 

*^7 

very  much 

^ 

which  may  be 

_^_ 

you  have 

X 

was  a  —  an 
was  as 
was  sent 

is 
tr 

which  should 
which  you  are 
which  you  will 

Z 

you  may 
you  may  be  sure 
you  must 

Jl 

was  so 
we  are 

-v 

i 

who  are 
who  has  —  is 

ns 
^ 

you  should 
you  will 

J±_ 

we  call 

«- 

who  is  a  —  an 

s\ 

you  will  think 



we  called 

/^ 

who  may  be 

* 

yours  is 

! 

i68         PALMER'S  NEW  MANUAL  OF  SHORTHAND. 


MISCELLANEOUS  BRIEFS. 

I.  When  I  is  the  first  word  in  a  phrase,  it  may  be  abbreviated  by 
writing  but  one  of  the  strokes  of  *,  that  stroke  being  chosen 
which  forms  an  angle  with  the  following  word.  When  thus 
used,  the  first  stroke  \salways  struck  downward  and  the  second 
upward.  See  line  I  (upward)  :  I  have,  I  have  been,  I  have 
thought,  I  have  said,  I  shall  be,  I  think  you  will.  Line  2 
(downward) :  I  am  sure,  I  must,  I  am  sorry,  I  am  very,  I  will, 
I  will  try. 

THEIR,  THERE.  Expressed  by  doubling  a  curve.  See  line  3.  Love 
their,  Serve  their,  Between  their,  I  think  there  will,  Was  there 
much  ?  For  there  has  been. 

ALL.  Expressed  by  the  double  consonants  of  the  /  series.  See 
line  4.  In  all,  Of  all,  With  all,  By  all,  At  all. 

OWN.  Sometimes  conveniently  expressed  by  the  n  hook.  See 
line  5.  Your  own,  Their  own,  Our  own,  Have  their  own, 
Love  their  own. 

NOT.  Expressed  by  halving  a  stroke  followed  by  the  n  hook.  See 
line  6.  Be  not,  Did  not,  Do  not,  Had  not,  Have  not,  Will 
not  have,  Was  not. 

WE,  WITH.  Expressed  by  the  initial  w  hook.  See  lines  7  and  8. 
We  will,  We  are,  We  may,  We  will  not,  We  are  not,  We  may 
not,  With  me-my,  With  him,  With  whom,  With  my  reason, 
With  him  you  may. 

IN.  Expressed  by  an  initial  backward  «  hook.  See  line  9.  In  se- 
cret, In  seeming,  In  some  cases,  In  some  other  way,  In  spirit, 
In  some  things. 

IT.  Expressed  by  halving  the  final  straight  consonant  of  an  outline. 
See  line  10.  Keep  it,  Make  it,  Take  it,  Give  it,  Gave  it,  Ask 
it,  Preach  it. 

OF  THE.  Expressed  by  proximity  (writing  the  words  close  together). 
See  line  II.  State  (of  the)  weather,  Name  (of  the)  person, 
List  (of  the)  injured,  Wealth  (of  the)  city,  Remarks  (of  the) 
teacher,  Letters  (of  the)  President. 


PALMER'S  NEW  MANUAL  OF  SHORTHAND.        169    | 


~2 


4 

5  r 


r      </ 


10 


u 

11 

15 
16      f 

. 


-v 


L 


'V. 


_     1 

(L     ^4 
^\ 


o 


170        PALMER'S  NEW  MANUAL  OF  SHORTHAND. 

COM,  CON.  Expressed  by  proximity  (writing  the  disjoined  word  or 
phrase  a  little  below  the  preceding  portion  of  the  outline).  See 
line  12,  p.  169.  I  will  not  complain,  Does  not  contain,  I  will 
contrive,  Receive  his  consent. 

MAY  BE,  This  phrase  is  expressed  in  the  Reporting  Style  by  the  mb 
sign.  See  line  13,  p.  169.  It  may  be,  He  may  be,  You  may  be. 
In  phrasing,  WE  may  be  written  to  MAY  BE  by  the  initial  w  hook. 
See  last  two  phrases,  line  13,  p.  169 :  We  may  be,  We  may  be 
certain. 

THAN.  The  »  hook  may  represent  than  when  joined  to  an  adjec- 
tive in  the  comparative  degree,  or  to  an  adverb.  See  line  14, 
p.  169.  Better  than,  Greater  than,  More  than,  Rather  than, 
Longer  than. 

To.  Occasionally  omitted  without  fear  of  illegibility.  See  line  15, 
p.  169.  Mean  (to)  have,  Mean  (to)  be,  Seems  (to)  be,  So  as 
(to)  be,  That  is  (to)  be,  That  is  (to)  say. 

HAVE.  Expressed  by  the  v  hook.  See  line  16,  p.  169.  Said  (to) 
have,  Hope  (to)  have,  It  will  have,  Which  have,  Which  have 
been. 

FROM-TO.  Expressed  by  proximity.  See  line  17,  p.  169.  From 
time  to  time,  From  place  to  place,  From  house  to  house,  From 
day  to  day,  From  year  to  year,  From  city  to  city. 


ix>s  Angeies 
This  book  is  DUE  on  the  last  date  stamped  below. 


NOV  211961 


Form  L9-25m-9,'47(A5618)444 


-"^TY  of  CALIFORNIA 


AT 

i  A  AT/^TT-T 


<3lJL.HCi        D 


-1908  --  manual  of 
shorthand. 


Pl82p 
1908 


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A    000  573  592    3 


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Paiitw'*  PDono^rapMc 
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>f  St. 


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M.   PALM? 


